IC 


1 


A  BOOK  OF  GAMES  FOK 
LITTLE  GHILDR.EM  -  BY 

Irene  E.Phillips  MosbS 


iii;iiii!ii..hJiimiwi.;; 


dSUlr- 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


</. 


X 


RHYTHMIC   ACTION 
PLAYS   AND   DANCES 


A  BOOK  OF  ORIGINAL  GAMES  AND  DANCES,  ARRANGED  PRO- 
GRESSIVELY, TO   MOTHER   GOOSE   AND   OTHER   ACTION 
SONGS  WITH  A  TEACHING  INTRODUCTORY;    FOR 
THE  KINDERGARTEN,  PRIMARY  SCHOOL, 
PLAYGROUND  AND  GYMNASIUM 


IRENE   E.   PHILLIPS   MOSES,  B.  L. 

(  University  of  California  ) 
Graduate  ok  The  Savage  School  for  Physical  Education 


MILTON  BRADLEY   COMPANY 

SPRINGFIELD,   MASS. 
1918 


Copyright,    1915,  by 

MILTON    BRADLEY    COMPANY 

Spbinqfield,  Mass. 


Stanbope  ipress 

H.GILSON   COMPANY 
BOSTON,  USA 


THIS  BOOK  IS  DEDICATED  TO  ALL  THE  LITTLE  BOYS  AND 
GIRLS  WHO  LOVE  TO  DANCE  AND  SING,  IN  MEMORY  OF  THE 
LITTLE  SON,  WHOSE  RHYTHMIC  CLASPING  OF  HIS  MOTHER'S 
FINGER  INSPIRED  HER  TO  DREAM  OF  GUIDING  HIS  FIRST 
RHYTHMIC    STEPS   IN   THE   MANNER   HEREIN  SET   DOWN       .-. 


Ill 


674094 


FOREWORD 

Physical  Education  in  common  with  ail  other  branches  of  the  curriculum  has  been 
undergoing  important  changes  with  the  adaptation  of  modern  theories  to  the  teaching  of 
young  children.  Games  and  Folk  Dances  have  come  to  occupy  a  well  merited  place  in 
the  child's  education.  Their  successful  use  is  largely  the  result  of  their  strong  universal 
appeal  to  the  child  in  contrast  to  the  rather  remote  interest  stimulated  by  formal  gym- 
nastics. Under  these  circumstances  Games  and  Rhythmic  Action  Plays  are  found  to  give 
a  maximum  of  educational  and  recreative  physical  exercise. 

In  arranging  these  simple  games  and  dances  the  author  has  first  of  all  endeavored  to 
select  such  songs  and  actions  as  will  give  pleasure  to  the  little  children  who  play  them. 
Should  this  aim  in  some  measure  be  accomplished,  the  chief  mission  of  the  book  will  have 
been  fulfilled.  However,  it  has  been  hoped  that  the  rhythms  may  bear  some  significance 
from  an  educational  point  of  view  by  fiirnishing  a  drill  and  training  which  in  a  pleas- 
urable manner  will  prepare  the  small  child  for  the  more  advanced  Folk  Dances. 
While  the  more  simple  Folk  Dances  are  easily  within  the  ability  of  children  of  the  Kinder- 
garten age,  their  teaching  involves  a  more  or  less  irksome  drill  on  the  mechanism  of  the 
steps  and  the  evolutions  of  the  dances.  By  means  of  a  carefully  arranged  preliminary 
training  this  rather  tedious  period  of  acquiring  the  necessary  co-ordination  can  be  made 
one  of  great  pleasure  to  the  children  and  comparatively  easy  teaching  for  the  teacher. 
It  is  believed  that  the  time  spent  on  these  simple  games  and  rhythms  will  later  prove  very 
profitable. 

These  little  rhythmic  Action  Plays  are  presented  to  the  public  with  the  hope 

1.  That  the  small  dancers,  after  having  enjoyed  these  plays,  will  go  on  with  spon- 
taneous joy  into  the  more  advanced  work,  finding  the  transition  to  Folk  and 
Aesthetic  Dancing  a  natural  and  easy  progression. 

2.  That  the  plays  may  prove  of  value  to  the  teacher  who  finds  "starting  the  chil- 
dren to  dance  "  a  difficult  problem. 

3.  That  they  may  help  to  fill  the  gap  between  the  rhythmic  work  of  the  Kinder- 
garten, which  is  frequently  somewhat  disconnected  and  lacking  in  progressive 
arrangement,  and  the  more  formal  rhythmic  work  of  the  Physical  Education 
Department 

The  author  wishes  to  here  make  acknowledgment  and  expression  of  her  gi-atitude 
to  Miss  Kate  M.  Saunders  and  Mrs.  Louise  Bohachek  Rouse  who,  by  encouragement, 
advice  and  assistance,  have  helped  in  the  preparation  of  this  book,  and  to  Mrs.  Mae 
Rehberg  Scheuerman,  to  whom  much  credit  is  due  for  her  intelligent  intei-pretation  and 
skillful  adaptation  of  the  music. 


TABLE  OF  CONTENTS 

Part  One.  page 

Chapter    I 1 

Chapter  II 

The  Teaching  of  Rhythmic  Action 4 

Part  Two. 

Rhythmic    Action    Plays  and    Dances    arranged    progressively  for   teaching.     (A 
list) 15 

Glossary 17 

Key  to  the  Description  of  the  Action  Plays 22 

Chapter  I 

Walking,  Marching  and  Running 23 

Chapter  II 

Sliding 35 

Chapter  III 

Knee,  Hip  and  Ankle  Action 51 

Chapter  IV 

Hippity-hops,  Skips  and  Jigs 67 

Chapter  V 

Balance  Step  and  Point  Step 77 

Chapter  VI 

The  Step  Hop 85 

Chapter  VII 

The  "Hop  Waltz" 92 

Chapter  VIII 

Sliding  with  alternate  use  of  the  feet 96 

Chapter  IX 

Couple  Dances  and  other  Action  Plays  in  which  the  Formation  is  Composed  of 
Several  Small  Groups 107 

Chapter  X 

Miscellaneous  Action  Plays 135 

Appendix 155 

vii 


RHYTHMIC   ACTION  PLAYS 
AND   DANCES 


PAKT    ONE 


PART  ONE 

CHAPTER    I 

General  Plan  of  the  Games  and  Dances  as  a  Course  of  Study. — The  preparation  of 
these  games  and  dances  has  been,  from  one  point  of  view,  a  purely  mechanical  task;  starting 
out  with  a  more  or  less  definite  program,  the  problem  resolved  itself  into  a  search  for  suitable 
rhymes  and  music  to  assist  in  the  expression,  explanation  and  teaching  of  this  couree  of 
study.  The  elements  which  it  seemed  desirable  to  incorporate  in  the  rhythms  may  be  briefly 
summed  up  as  follows : 

1.  The  elimination  of  names  of  steps,  counts  and  all  straining  to  secure  proper  form 
by  means  of  a  conscious  effort  in  that  direction. 

2.  The  substituting  of  dramatization  and  imitation  to  assist  in  acquiring  the  desired 
form,  using  words  instead  of  counts  to  accent  the  rhythm. 

3.  A  training  in  simple  foot  movements  other  than  those  involved  in  walking  and  running. 

4.  The   development   of   balance,    accurate   adjustment   of   the   body   weight   and   the 
sense  of  direction. 

5.  The  differentiation  in  the  use  of  the  right  and  left  foot. 

6.  A  stimulation  to  knee  action. 

7.  A  knowledge  of  the  simple  couple  formations  and  floor  evolutions. 

8.  An  acquaintance  with  the  various  tempi. 

9.  The  abihty  to  execute  foot  movements  in  series  of  2's,  3's,  4's,   5's,   6's,  7's,  8's 
and  their  various  combinations. 

Mother  Goose. — Many  of  the  Action  Plays  now  in  use  in  some  measure  fulfil  these  re- 
quirements; however,  there  seems  to  be  a  demand  for  new  games  which  shall  prove  attract- 
ive, in  theme  and  spirit,  to  the  English-speaking  child.  The  themes  of  the  Old  English 
traditional  games,  with  their  kissing  and  love  making,  are  in  many  cases  such  that  they  are 
not  appropriate  in  sentiment  for  small  children;  and  while  the  foreign  singing  games  are  fas- 
cinating in  their  distinctive  rhythm,  well  developed  and  interesting  action,  yet  the  words  often 
lose  their  jingle  in  translation.  In  looking  around  for  suitable  material  to  adapt  to  the  course 
of  study  mapped  out  above.  Mother  Goose  has  seemed  in  many  ways  the  most  natural  source 
upon  which  to  draw.  The  following  quotation  from  a  chapter  on  Mother  Goose  in  Montrose 
J.  Moses's  valuable  little  book  "Children's  Books  and  Reading"  is  an  eloquent  argument  for 
this  adaptation  and  use  of  our  old  nursery  rhymes. 

"  The  melodies  have  a  circuitous  literary  history.  In  round-about  fashion,  the 
ditties  have  come  out  of  the  obscure  past  and  have  been  fixed  at  various  times  by 
editors  of  zealous  nature.  For  the  folk-lore  student,  such  investigation  has  its 
fascination;  but  the  original  rhymes  are  not  all  pure  food  for  the  nursery.  In 
the  course  of  time,  the  juvenile  volumes  have  lost  the  jingles  with  a  tang  of  com- 
mon wit.  They  come  to  us  now,  gay  with  colored  print,  rippling  with  merri- 
ment, with  a  rhythm  that  must  be  kept  time  to  by  a  tap  of  the  foot  upon  the 
floor  or  by  some  bodily  motion.  Claim  for  them,  as  you  will,  an  educational 
value;  they  are  the  child's  first  entrance  into  storyland;  they  train  his  ear,  they 
awaken  his  mind,  they  develop  his  sense  of  play.  It  is  a  joyous  garden  of  incon- 
gruity we  are  bequeathed  in  '  Mother  Goose.'  " 

Although  these  jingles  have  come  to  us  from   many   lands    it  can   hardly   be  denied 
that  in  their  present  form   they  are  English  Literature.     Their  appeal  is  universal,  their 


2  RHYTHMIC  ACTION  PLAYS  AND   DANCES 

charm  defies  analysis  and  we  know  before  the  telling  that  they  will  delight  the  small 
listener.  And  may  we  not  say,  that  for  vivid  action  and  Strong  accent  of  rhythm,  these 
little  classics  are  unparalleled?  No  argument  is  needed  here  for  their  introduction  into 
the  school  curriculum;  educators  and  children's  librarians  throughout  the  country  are 
appreciating  more  and  more  the  value  of  our  old  nursery  rhymes.  They  are  theu*  own 
excuse  for  being.  To  start  the  child's  formal  rhythmic  work  with  Mother  Goose  seems, 
in  many  ways,  the  most  natural  course.  In  most  cases  the  child  already  knows  these 
ditties  and  delights  in  their  repetition  and  thus  they  may  be  utilized  as  the  connecting 
link  between  the  "known  and  unknown."  These  rhymes  may  be  made  to  fui-nish  the 
excuse  for  many  repetitions  of  the  action,  for  what  child  ever  tired  of  repeating  Mother 
Goose  over  and  over.  Their  introduction  as  the  theme  of  games  and  dances  has  many 
arguments  in  its  favor.  They  are  all  short  and  yet  sufficiently  descriptive  for  dramatic 
action.  The  fact  that  the  words  are  usually  familiar  obviates  the  necessity  of  teaching  a 
large  number  of  new  songs.  And  we  already  have  evidence  of  their  popularity  as  game 
material  in  verses  which  have  a  traditional  game  element  such  as  "London  Bridge,"  "Mary 
Sits  A-weeping,"  etc.  i 

As  in  the  cases  of  the  "Man  in  the  Moon"  and  "Bean  Porridge  Hot,"  "A,  B,  C," 
and  "Poor  Dog  Bright"  it  has  seemed  desirable  to  group  two  of  the  rhymes  together 
into  one  game.  While  the  actions  were  more  or  less  arbitrarily  decided  upon  before  the 
games  were  arranged,  wherever  possible,  a  uniform  effort  has  been  made  to  make  the 
actions  the  natural  expression  of  the  theme  of  the  rhymes. 

Themes  other  than  Mother  Goose. — In  order  to  make  the  course  of  study  complete  it 
was  found  necessary,  in  some  cases,  to  introduce  songs  other  than  the  nursery  rhymes.  In 
doing  this  an  effort  has  been  made  to  make  the  choice  as  catholic  as  possible.  Mother  Goose 
is  lacking  in  nature  study  topics  and  action  of  contemporary  interest.  Many  of  the  songs 
included  in  this  collection  are  now  in  popular  use  in  the  schools. 

The  Relation  of  Singing  to  the  Play  of  Small  Children. — Aside  from  the  importance  of 
the  use  of  words  to  accent  the  rhythm  of  the  dance  there  are  other  reasons  why  in  nearly 
every  instance  it  has  been  considered  fitting  that  words  accompany  the  music  of  these  Action 
Plays.  Children  all  have  a  tendency  to  talk  to  themselves  while  they  play.  The  oft-repeated 
phrases  soon  ari'ange  themselves  into  a  sort  of  chant  to  be  droned  over  and  over.  As  long  as 
play  is  individualistic  this  chant  will  change  with  the  time,  circumstance  and  mood  of  the 
small  players.  But  when  a  pantomime  play  is  adopted  by  a  group,  some  formality  is 
necessary  and  a  certain  order  in  the  form  of  expression  is  evolved.  In  the  visiting  game, 
"I  came  to  see  Miss  Mehitable  Jones,  and  how  is  she  today?"  we  have  a  good  example 
of  the  half-way  stage  between  the  conversational  form  and  the  formal  verses  of  such  a 
game  as  "Round  and  Round  the  Village."  Very  small  children  do  not  enjoy  nor  com- 
prehend games  with  a  strong  competitive  element  which  involve  a  contest  between  groups, 
their  play  being  mostly  imitative.  The  words  of  the  songs  give  opportunity  for  mimicry 
and  "make  believe." 

The  Music. — The  selection  of  appropriate  music  has  been  a  very  perplexing  and  ar- 
duous task,  as  many  conflicting  elements  enter  into  the  situation.  To  be  suitable  for 
the  present  use  the  choice  has  been  narrowed  to  such  music  as  should  fulfil  these  conditions: 

1.  Well  accented  rhythm. 

2.  Bright  and  lively. 

3.  The  appropriate  time,  tempo  and  melody  to  fit  the  words  and  actions. 

4.  Simple  for  childi-en  to  sing. 

5.  Easy  to  play. 

6.  Tunes  with  a  jingle  and  a  "catch"  which  shall  recommend  them  to  children. 


RHYTHMIC  ACTION  PLAYS  AND  DANCES  3 

Much  of  the  traditional  music  to  Mother  Goose  is  entirely  unsuitable  for  this  purpose. 
Left  to  themselves  to  choose,  the  children  usually  prefer  the  rhythms  which  are  rather 
crude  and  monotonous  as  "Farmer  in  the  Dell,"  etc.  Frequently  the  reason  for  lack  of 
greater  success  in  rhythmic  work  may  be  attributed  to  the  choice  of  music.  May  it  not  be 
that  we  adults  make  a  mistake  in  our  demands  for  the  tuneful  and  harmonious,  when 
what  we  really  should  look  for  is  a  bright  jingle  easily  sung  and  played,  and  with  a 
"catchy"  rhythm  that  will  make  the  kiddies'  feet  twitch  to  be  a-skipping.  We  sometimes 
forget  that  the  development  of  many  little  tots  is  only  that  which  corresponds  to  the 
tom-tom  period  in  the  history  of  the  race.  We  accuse  some  children  of  lack  of  rhythm, 
yet  what  child  does  not  appreciate  the  sing-song  of  "Fraid-cat"?  Perhaps,  if  in  these 
cases  we  were  to  make  the  beginnings  simple  and  slow  enough,  we  could  lead  the.se  little 
children  out  of  their  barbaric  period  into  an  appreciation  of  unity  and  harmony  that  would 
make  them  feel  their  kinship  with  the  singing  birds,  dashing  spray  and  swaying  trees. 

The  Importance  of  Pleasure  and  Enjoyment  in  Rhythmic  Work. — The  pleasure  the  chil- 
dren derive  from  their  rhythmic  work  is  quite  the  most  important  factor  of  its  success. 
To  a  great  extent  the  teacher  may  gauge  the  successful  results  of  her  presentation  in  the 
children's  response;  but  to  secure  this  enthusiastic  reception  from  the  class,  something 
more  is  necessary  than  that  the  teacher  give  them  a  vivacious  and  inspiring  exhibition 
of  the  dance.  If  the  teacher  would  make  progress  in  her  teaching  and  hold  the  interest 
and  attention  of  her  class  from  day  to  day,  she  can  only  hope  to  do  so  by  a  careful 
study  of  the  rhythms,  the  progi-essive  steps  in  their  teaching  and  the  manner  in  which 
she  presents  them  to  the  children.  First  of  all,  the  teacher  must  gain  and  hold  the  atten- 
tion, and,  while  she  should  always  have  a  firm  control  of  the  conduct  of  the  class,  in  game 
work  particularly,  she  should  keep  her  personality  in  the  background.  When  children  are 
absorbed  in  what  they  are  doing,  the  problem  of  discipline  becomes  negligible.  The 
interest  of  little  children  must  be  immediate;  and,  while  with  older  classes  attention  to 
the  mechanism  of  the  dance  may  be  held  by  a  remote  interest  in  the  completed  dance, 
this  motive  cannot  be  used  with  small  children,  hence  the  necessity  of  making  the  work 
itself  interesting.  It  is  hoped  that  by  the  use  of  dramatic  and  descriptive  songs  the 
attention  of  the  children  will  be  aroused  and  held  until  the  whole  class  has  caught  the 
idea  and  mastered  the  desired  exercise.  For  it  is  always  the  case  that  the  attention  of 
the  precocious  tends  to  wander  after  they  have  mastered  the  problem  and  that  they  are 
bothersome  while  the  members  of  the  group  who  are  slower  in  acquiring  the  desired  skill 
are  still  interested  and  unprepared  to  go  on  to  the  next  step  in   the  progression. 

Children  should  never  be  hurried  to  a  new  problem  before  they  have  mastered  that 
which  is  intended  to  prepare  for  it.  And  right  here  is  where  the  greatest  mal-adjustments 
are  liable  to  occur.  Be  sure  that  no  child  will  enjoy  an  exercise  in  the  performance  of  which 
he  feels  himself  to  fail.  It  is  essential  that  a  class  should  always  feel  success,  if  they  are 
to  enjoy  their  activity.  Although  mere  muscular  action  may  in  itself  give  pleasure,  this 
enjoyment  may  be  overshadowed,  however,  if  the  action  is  under  unpleasant  circumstan- 
ces. Experience  has  shown  that  the  children  enjoy  repeating  "Hickory  Dickory  Dock" 
more  times  than  they  do  the  "Chimes  of  Dunkirk,"  for  the  three  stamps  and  slides  in 
the  latter  have  no  immediate  interest  except  the  pleasure  in  the  ryhthmic  movement. 


CHAPTER   II 
THE   TEACHING  OF  RHYTHMIC   ACTION 

Class  Organization. — The  organization  of  the  class,  for  teaching  small  children,  is 
very  properly  and  in  fact  necessarily  more  or  less  informal;  nevertheless,  it  is  essential 
that  the  class  be  conducted  with  some  degree  of  formality,  both  for  the  sake  of  a  clear 
and  satisfactory  presentation  of  the  subject  matter  to  be  taught  and  from  the  point  of 
view  of  the  children;  for,  contrary  to  popular  belief,  experience  shows  that  children  wel- 
come and  desire  leadership,  appreciate  authority  and  dislike  haphazard  work,  while  dis- 
order tires  and  confuses  them.  Work  given  in  a  poorly  conducted  class  is  almost  sure  to 
be  barren  of  good  results. 

The  Circle  is  the  simplest  form  of  organization  and  is  especially  suitable  for  use  in 
classes  of  small  children,  —  in  fact  children  at  play  naturally  and  spontaneously  assume 
this  formation.  The  circle  formation  is  superior  to  the  straight  line  in  being  easier  to 
maintain.  It  is  also  the  natural  grouping  to  assume  when  a  demonstration  is  made,  as 
is  evinced  by  the  circular  crowd  which  collects  around  a  street  accident  or  performance. 
When  the  teacher  stands  in  the  centre  of  the  circle  and  demonstrates  an  action,  it  is 
possible  for  all  the  class  to  see  her  equally  well;  also  if  she  stands  in  the  circle  with  the 
children  when  they  are  in  action,  it  induces  a  sense  of  comradeship  with  the  group.  This 
formation  enables  the  teacher  to  look  each  child  in  the  eye,  which  is  always  of  great 
assistance  in  studying  the  members  of  the  class  in  an  effort  to  comprehend  their  difficulties 
and  read  their  emotions,  as  well  as  in  holding  the  attention  and  maintaining  order. 

When  the  teacher  wishes  to  assemble  a  group  into  a  circle  she  may  readily  do  so  by 
using  forms  of  expression  something  like  the  following:  "Let's  make  a  circle  and  take  hold 
of  hands,"  at  the  same  time  reaching  her  arms  out  sideways  to  illustrate.  Should  the  chil- 
dren be  slow  to  come  together  or  stop  to  play  with  each  other,  she  may  add  in  a  firm 
and  pleasant  manner,  "quickly,  please,"  "all  take  hold  of  hands."  Next,  to  gauge  the 
distance  between  the  children  and  give  room  for  freedom  of  movement,  the  class  may  be 
asked  to  "spread  out  a  little  better,"  at  the  same  time  the  teacher  should  step  back  and 
raise  her  arms,  thus  taking  "double  distance."  These  instructions  should  be  followed  by 
the  command  "let  go  of  hands,"  for  should  the  teacher  fail  to  give  proper  consideration 
to  the  busy  little  hands  much  mischief  and  disorder  will  inevitably  result.  The  hands 
should  never  be  clasped  in  any  grouping  except  when  there  is  some  definite  reason  for 
their  being  so.  In  fact,  niany  teachers  make  it  a  rule  to  keep  the  hands  upon  the  hips 
whenever  possible,  thus  removing  the  temptation  for  the  child  to  squeeze  and  jerk  his 
neighbor's  hands  and  otherwise  distract  the  attention  of  the  class. 

The  Straight  Line.  When  teaching  by  imitation  steps  which  require  a  differentiation 
of  the  use  of  the  right  and  left,  the  circle  formation  should  be  abandoned  in  favor  of  the 
straight  line;  for  should  the  teacher  try  to  demonstrate,  in  the  circle  formation,  such  a 
movement,  those  facing  her  would  use  the  opposite  foot  to  the  one  she  is  using,  while 
those  beside  and  behind  her  would  use  the  same.  The  evolving  of  a  straight  line  from  a 
circle  is  a  simple  matter  for  it  may  be  accomplished  by  choosing  a  leader,  facing  the 
class  in  "  line  of  direction  "  and  having  him  lead  those  behind  him  out  into  a  straight  line. 
Grouping  in  Couples.  After  the  teacher  becomes  somewhat  acquainted  with  her  class 
and  the  couple  dances  are  introduced,  it  is  recommended  that  she  give  each  child  a  part- 
ner and  a  permanent  position  in  the  circle.    By  this  means  it  is  possible  to  scatter,  through- 


RHYTHMIC  ACTION  PLAYS  AND   DANCES  5 

out  the  class,  the  precocious  and  older  children  in  such  a  manner  that  the  diffident  and 
backward  may  be  assisted  by  those  who  are  quicker  to  grasp  and  retain  the  new  idea. 
If  the  mischievous  children  are  well  separated  they  will  generally  give  little  trouble.  This 
deliberate  arranging  of  the  group  also  helps  to  maintain  better  the  average  of  the  class, 
for  it  is  an  unfortunate  fact  that  a  class  can  only  advance  as  fast  as  its  slowest  members. 
In  some  schools  the  children  are  seated  at  their  tables  or  desks  in  the  desired  order  for 
floor  work,  so  that  they  may  march  out  in  well-ai'i'anged  order  to  begin  active  work. 
For  teaching  couple  dances  it  is  always  well  to  have  two  pei'manent  leadei-s  as  partners 
who  should  be  the  brightest,  most  responsible  and  skillful  in  the  class,  for  their  example 
and  assistance  will  be  invaluable  to  the  re.st  of  the  class.  Of  course,  irregularity  of  at- 
tendance, and  increasing  proficiency  will  necessitate  a  continual  readjustment  of  partners; 
however,  a  sufficient  nucleus  of  oi'ganization  will  be  constant  to  make  the  rearrangement 
of  partners  a  matter  of  a  moment's  consideration.  This  permanent  ari-angement  of  the 
group  into  partners  will  preclude  the  necessity  of  counting  off  and  "opening  order"  which 
little  tots  find  difficult.  When  it  is  desired  to  teach  the  children  the  idea  of  "opening 
order"  they  may  be  given  the  game  of  "The  Little  Pigs." 

The  question  frequently  arises  in  classes  which  are  composed  of  both  boys  and  girls 
whether  it  is  advisable  and  advantageous  that  the  partners  be  so  selected  that  a  boy 
and  girl  dance  together.  This  arrangement  looks  very  well  in  exhibitions  and  in  some 
dances  is  very  appropriate.  As  a  rule  little  regard  should  be  paid  to  the  sex  of  the 
members  of  the  class  when  teaching.  Seldom  is  a  class  equally  divided  into  girls  and 
boys,  and,  therefore,  it  is  useless  to  give  the  time  and  attention  to  this  grouping.  The 
physical  skill  and  abihty  of  little  boys  and  girls  is  almost  identical,  and  a  differentiation 
which  nature  does  not  recognize  or  the  children  demand  is  hardly  worth  considering. 

Teaching  by  Imitation  and    Dramatization   in   Place  of   Commands  and    Descriptions. — 

When  the  first  rhythmic  work  is  given  it  is  usually  best  to  teach  by  imitation  as  much 
as  possible.  By  imitation  is  meant  that  the  teacher  first  shows  each  exercise  and  then 
dances  with  the  class.  Small  children  find  it  easier  to  imitate  an  action  or  act  out 
some  play  than  respond  to  descriptions  or  commands.  Up  to  the  time  children  enter 
school,  their  play  has  been  imaginative  and  imitative  without  conscious  effort  at  the 
differentiation  of  the  activity  of  the  various  parts  of  the  body.  When  a  child  makes  his 
first  efforts  at  directed  activity,  he  is  usually  bewildei-ed  when  asked  to  raise  a  right  arm 
sideways  or  touch  the  left  toe  forward.  Puzzling  instructions  and  descriptions  may  be 
largely  avoided  if  the  child  is  gradually  taught  to  respond  to  commands  and  descrip- 
tions. By  the  use  of  such  Action  Songs  as  this  book  includes,  it  has  been  found  that 
the  use  of  the  names  of  steps,  commands  and  descriptions  of  actions  is  unnecessary. 
When  a  child  sees  "Diddle,  Diddle  Dumpling"  and  hears  the  music  he  does  not  need 
to  be  told  to  run  in  place,  raising  his  knees  forward  waist  high. 

Arousing  and   Holding  the  Attention. — The  interest  aroused  by  the  rhythm  itself,  if  it 

is  properly  presented,  will  usually  be  sufficient  to  hold  the  attention  of  the  class.  Much 
depends  upon  the  spirit  the  teacher  puts  into  the  demonstration,  —  that  intangible  some- 
thing which  makes  the  series  of  motions  a  dance,  not  merely  inexpressive  actions.  If  the 
teacher  enjoys  the  rhythm  and  shows  she  delights  in  executing  it,  there  is  little  doubt 
but  that  the  class  will  be  eager  to  copy  her  demonstration.  No  written  description  can 
convey  to  ^  the  teacher  this  spirit  in  which  lies  the  charm  of  the  dance,  for  it  must  come 
from  her  "feeling  the  rhythm"  and  expressing  it  by  the  flash  of  eye,  the  smile,  elasticity 
of  step  and  the  emotion  and  thrill  in  the  voice.  If  the  teacher  would  succeed  in  teach- 
ing rhythmic  work  to  children  she  must,  when  she  shows  a  dance,  forget  to  be  a  "school 
marm"  by  exerting  herself  to  be  as  fascinating  as  lies  in  her  power,  and  this  she  can 
easily  do  without  loss  of  dignity. 

Care  should  be  taken  to  watch  carefully  for  any  waning  of   the   interest,    and    when 


6  RHYTHMIC  ACTION  PLAYS  AND   DANCES 

the  teacher  sees  signs  of  wavering  attention,  due  to  loss  of  interest,  then  is  the  time  to 
pass  on  to  another  game  or  dance.  The  mistake  should  not  be  made,  however,  of  allow- 
ing the  children  to  acquire  the  habit  of  flitting  from  one  thing  to  another,  constantly 
seeking  for  some  new  thing  to  amuse  them  and  never  concentrating  long  enough  on  one 
thing  to  master  and  really  enjoy  it.  The  game  "Peter  Piper  Says  Please"  has  been 
arranged  with  the  idea  of  giving  the  class  training  in  concentration  and  it  may  be  used 
when  the  class  have  become  somewhat  disorganized  as  after  a  game  such  as  "The  Fairy 
Ship." 

The  Musical  Accompaniment  of  Rhythmic  Work. — Rhythmic  action  involves  a  regular 
succession  of  motions  in  musical  time  with  a  periodical  recurrence  of  accent.  From 
the  above  statement  it  will  be  seen  what  an  important  factor  the  musical  accompani- 
ment is  in  the  proper  presentation  and  interpretation  of  rhythmic  work.  The  accom- 
paniment should  bring  out  the  rhythm  of  the  words  by  a  strong  and  clear  accent  of 
the  time,  and  assist  in  interpreting  the  story  of  the  dance  by  stimulating  the  emotions 
and  inspiring  the  children  with  a  desire  to  express  themselves  in  bodily  action. 

Teachers  of  Dancing  will  do  well  to  give  careful  consideration  to  the  subject  of  their 
musical  accompaniment.  A  good  and  helpful  accompanist  must  do  more  than  accurately 
play  the  music.  First  she  should  carefully  study  the  music,  paying  particular  attention 
to  the  marking  which  indicates  the  tempo,  accent,  etc.  Next  she  should  study  the  dance. 
The  parts  of  the  music  which  accompany  skips,  hops  and  other  light  "bouncing"  actions 
should  be  light  to  stimulate  the  leap.  All  accented  beats,  when  the  foot  strikes  the  floor, 
the  claps,  stamps  and  other  single  actions  should  be  exaggerated  by  the  bass  notes,  em- 
phasized at  the  expense  of  the  melody,  which  is  here  of  secondary  importance.  For  sing- 
ing, the  melody  is  the  important  part  of  the  accompaniment;  for  dancing,  this  is  not  so 
largely  the  case,  as  it  is  the  accented  notes  in  the  bass  which  give  the  dancers  the  time 
and  help  them  to  express  the  regular  recurrence  of  intervals.  When  a  dance  is  being  demon- 
strated and  taught,  the  musician  should  listen  carefully  and  watch  every  movement  to  enable 
her  to  assist  the  teacher  in  bringing  out  the  essential  characteristics  of  the  rhythm.  Observ- 
ing the  action  will  help  her  to  pick  out  the  exact  notes  or  measures  which  correspond  to  the 
part  of  the  dance  being  taught;  for  in  dances  of  more  than  one  figure,  it  is  as  essential 
that  the  music  be  split  up  into  its  integral  parts,  as  that  the  dance  be  analyzed  into  its 
simplest  elements.  The  accompaniment  for  teaching  dancing  should  no  more  be  con- 
sidered a  musical  performance  to  be  played  through  tOj.the  end  than  one  would  in  teaching 
singing.  The  musician  should  hold  herself  ready  to  respond  to  the  command  "halt"  upon 
any  beat  where  the  teacher  may  wish  to  stop  and  correct  a  mistake,  or  repeat  a  part. 
Frequently  the  accompanist  may  be  required  to  repeat  over  and  over  a  single  measure 
until  some  desired  point  is  mastered. 

At  first  she  should  take  her  time  from  the  teacher  and  the  class,  but  after  the  desired 
co-ordination  has  been  acquired,  or  floor  evolution  learned,  then  she  should  cease  to  look 
at  the  class  and  pay  strict  attention  to  the  time  and  artistic  playing  of  the  music.  It  is 
a  very  bad  thing  for  a  class  to  have  the  accompanist  always  adapt  her  time  to  them,  for 
this  will  eventually  result  in  both  spoiling  the  musician's  time  and  leaving  the  training  of 
the  class  incomplete.  The  signal  to  the  musician  and  the  class].that  they  are  to  hold  them- 
selves in  readiness  to  start  at  the  same  instant  is  the  preparatory  command  "in  time"; 
the  signal  to  start  the  music  and  the  action  is  given  as  soon  after  the  preparatory  com- 
mand as  the  teacher  wishes,  and  is  "begin."  The  teacher  usually  glances  at  the  class  to 
see  that  all  are  ready  after  she  has  given  the  warning  signal  "in  time"  before  she  adds 
"begin."     The  signal  to  the  musician  and  the  class  to  stop  is  "halt." 

Words  accompany  the  larger  number  of  these  Action  Plays;  yet  they  are  in  many  cases 
intended  to  be  used  for  descriptive  purposes  rather  than  as  an  accompaniment  to  the 
dance,  sung  by  the  class.  It  would  be  neither  wise  nor  desirable  that  the  children  should 
constantly  sing  throughout  the  rhythmic  period.     If  the  teacher  and  the  musician  sing  the 


RHYTHMIC  ACTION   PLAYS  AND   DANCES  7 

songs  as  the  children  dance,  this  will  furnish  them  a  guide  to  the  action,  which  is  more 
effective  and  pleasant  than  counting  or  descriptive  commands  would  be.  Take  as  an 
example  "The  Stork"  dance;  instead  of  the  teacher's  saying  "Raise  your  left  foot  and 
stand  still  on  your  right,  1-2-3-4-5-6,  etc.,  now  change,  1-2-3-4-5-6,  etc.,  now  let's  fly, 
etc.";  better  balance  will  be  kept  if  the  teacher  holds  the  attention  by  singing  the  song, 
and  directs  the  action  by  illustrating  the  motions  as  she  sings. 

The  Use  of  the  Voice. — Next  in  importance  to  the  musical  accompaniment,  the 
demonstration  of  the  action,  and  the  class  conduct,  is  the  use  of  the  voice.  All  that 
the  teacher  wishes  to  exj)ress  or  emphasize  should  be  conveyed  to  the  class  by  the  tones 
of  her  voice.  A  careful  study  of  the  rhythms  from  the  point  of  view  of  their  interpre- 
tation by  vocal  expression  will  be  well  rewarded.  "Pussy-cat,  pussy-cat,  where  have  you 
been?"  should  represent  curiosity,  interrogation  and  possibly  reproof,  and  the  teacher 
should  express  these  sentiments  when  she  first  repeats  the  words  to  the  class.  The 
accented  beats  in  the  music  should  be  supplemented  by  accenting  the  corresponding 
words  in  the  verse.  The  voice  should  also  express  the  tempo  of  the  movement.  A  slow 
rhythm  such  as  the  motorman  tapping  his  gong  should  be  told  in  a  slow,  even  way.  While 
the  words  of  "Jack  Be  Nimble"  should  be  repeated  quickly  and  in  a  lively  spirit.  A 
little  thought  and  consideration  given  to  the  possibilities  and  scope  of  this  subject  will 
readily  show  one  its  importance  and  value. 

The  manner  in  which  the  teacher  expresses  herself  has  much  to  do  with  the  spirit 
of  the  class,  their  courteous  and  respectful  consideration  for  one  another  and  their  atti- 
tude toward  the  teacher.  The  teacher  should  address  the  class  in  such  a  way  that  the 
children  always  pay  respectful  and  careful  attention  to  what  she  has  to  say.  The  tones 
of  the  voice  may  be  such  that  they  assist  the  teacher  to  maintain  a  firm  control  over  the 
class.  This  control  of  the  class  is  at  times  rather  difficult  to  keep,  as  precipitant  action 
often  tends  to  excite  the  children  and  disorganize  the  group  activity.  Without  some  re- 
straint there  are  liable  to  be  some  who  will  become  excited,  lose  their  self  control  and 
run  aimlessly  about,  oppressing  and  interfering  with  the  weaker  or  more  attentive.  By 
firm  control  is  not  meant  strict  discipline  nor  obnoxious  display  of  authority,  but  rather 
the  dignified  expression  we  would  expect  the  ideal  and  loving  mother  to  use  when  playing 
with  her  little  ones. 


THE  LESSON 

The  Beginning  of  the  Rythmic  Lesson. — When  arranging  a  course  in  Gymnastics,  or 
preparing  a  series  of  "Day's  Orders,"  it  is  easier  to  plan  ahead  and  definitely  arrange 
what  the  progression  is  to  be  from  lesson  to  lesson.  The  arranging  of  the  lessons  in 
rhythmic  work  cannot  be  so  definitely  planned  in  advance,  owing  to  the  many  uncertain 
elements  which  may  enter  into  the  situation  from  day  to  day  and  disarrange  the  whole 
program.  The  spirit  of  the  class,  the  spontaneous  joy  which  comes  with  rhythmic  action, 
the  length  of  time  it  requires  to  learn  a  new  movement,  and  the  number  of  repetitions 
required  to  perfect  the  form  are  all  variable  quantities.  Therefore  it  has  been  deemed 
unadvisable  to  arrange  a  series  of  rhythmic  lessons,  but  instead  briefly  to  give  a  few 
suggestions  for  the  general  plan  of  the  lesson. 

The  preparation  of  a  program  for  teaching  games  and  dances  to  older  classes,  of 
necessity,  is  largely  based  upon  the  consideration  of  precipitant  action.  For  the  idea  is 
that  a  lesson  should  begin  with  the  least  violent  action,  the  middle  of  the  lesson  should 
be  the  hardest  and  most  active,  while  at  the  end  of  the  lesson  the  heart  beat  should 
be  slowed  down  and  the  strength  of  the  movements  gradually  tapered  off.  Children, 
however,   run  and  jump  so  easily  and  with  comparatively  so  little  effort  that  we   need 


8  RHYTHMIC   ACTION  PLAYS  AND   DANCES 

not  give  to  this  subject  the  importance  we  should  if  the  class  were  a  few  years  older. 
We  should,  however,  keep  this  general  scheme  in  mind  when  planning  our  lesson. 

Let  us  assume  for  purposes  of  discussion  that  we  have  at  our  disposal  for  the  rhythmic 
period  fifteen  to  twenty  minutes.  The  question  arises,  "How  can  we  utilize  this  time  to 
give  the  maximum  of  motor  education,  rhythmic  training,  recreation  and  fun  for  the 
children?"  The  lesson  may  well  begin  with  a  review,  preferably  a  game  or  series  of  actions 
which  are  in  the  direct  progression  to  lead  up  to  the  new  element  which  it  is  proposed  to 
introduce  in  the  lesson.  This  review  will  bridge  the  transition  between  the  previous  quiet 
work  and  the  more  strenuous  physical  activity.  Also  it  is  of  the  utmost  importance  that 
the  child  enjoy  the  first  activity  in  the  lesson  in  order  that  we  may  gain  his  attention  and 
putihim  into  a  frame  of  mind  where  he  will  enter  into  new  activities  with  eager  anticipa- 
tion. Children  almost  without  exception  enjoy  any  physical  action  which  they  feel  they 
execute  with  skill  and  success. 

If  the  first  activity  in  the  period  is  not  a  preparation  in  direct  progression  for  the 
new  element,  then  it  is  evident  that  such  a  review  should  next  be  given  to  introduce  the 
new  element.  In  every  lesson  something  new  should  be  taught,  if  nothing  more  than  the 
correct  way  to  stamp  or  clap.  In  this  way  the  children  will  easily  and  without  any  strain- 
ing gradually  acquire  motor  control  and  rhythmic  sense.  This  new  element  should,  how- 
ever, never  in  any  way  interfere  with  the  mastery  of  each  stage  of  the  progression,  for 
it  is  vital  to  success  that  the  class  be  given  something  new  only  after  the  preparation  has 
been  entirely  satisfactorily  accomplished.  Small  children  progress  much  more  slowly  than 
adults,  because  they  have  less  motor  control.  If  the  "new  element"  in  the  lesson  is  not 
a  movement  which  demands  that  large  muscle  masses  be  brought  into  action,  then  it  is  well 
to  give  next  a  few  minutes  to  some  skipping  or  running  game;  for  it  is  recommended  that 
the  class  be  given  sufficiently  violent  exercise  each  day  to  get  them  out  of  breath.  This 
should  not,  however,  be  carried  to  an  extreme.  The  aim  of  the  teacher  should  be  to 
send  the  child  on  to  the  next  activity  in  such  a  condition  that  his  body  is  in  an  im- 
proved state,  such  as  better  circulation  and  improved  nerve  control. 

The  Ending  of  the  Lesson. — It  is  a  mistake  to  end  the  lesson  with  a  disagreeable  or 
difficult  task,  because  iti  is  greatly  to  be  desired  that  the  child  remember  his  rhythmic 
period  with  pleasure.  He  should  be  able  to  recall  that  he  enjoyed  the  work  and  that  he 
successfully  mastered  something  new  and  possibly  difficult,  for  this  pleasant  memory  will 
insure  his  bringing  enthusiasm  and  interest  to  the  next  game  period.  The  teacher  should 
see  to  it  that  her  class  always  goes  from  the  active  to  the  quiet  work  in  a  condition  of 
self  control.  It  should  never  be  necessary  to  resort  to  discipline  to  quiet  a  class  after  a 
strenuous  physical  activity.  The  probabilities  are  that  the  excitement  and  restlessness 
are  due  to  quickened  heart  action  such  as  results  from  running,  hopping,  etc.  Slow  leg 
movements  which  draw  the  blood  into  the  large  muscles  of  the  leg  are  helpful  to  relieve 
this  condition,  such  as  marching,  "Goosey,  Goosey  Gander,"  the  knee  bending  and 
stretching  in  "Cock-a-doodle-doo"  (without  the  run),  "Bobby  Shafto,"  "See-saw  No.  I," 
and  the  "Motorman."  Quiet  games  are  also  of  value,  as  "Humpty  Dumpty,"  "Little 
Miss  Muffet,"  "Sing  a  Song  of  Sixpence,"  "The  Kewpies,"  "Come,  My  Dolly,"  "The 
Fairies'  Moonlight  Dance,"  "  Hush-a-bye  Baby,"  "The  Pancake  Man"  and  "The  Stork." 

Breathing  Exercises. — Breathing  exercises  are  also  valuable,  and  may  advantageously 
be  placed  at  the  end  of  the  lesson.  "Playing  Train"  is  a  good  breathing  exercise  when 
the  breath  is  held  for  two  measures.  Children  greatly  enjoy  imitating  animals.  To  fur- 
nish an  interest  and  a  motive  in  the  breathing  exercises,  the  following  animal  imitations 
may  be  given  at  a  suitable  time  to  correspond  with  the  previous  activity  in  the  lesson: 
mewing  of  the  "Three  Little  Kittens";  the  panting  of  the  dog  the  master  lost;  the 
bleating  of  the  "Black  Sheep";  "Cock-a-doodle-doo";  the  buzzing  of  the  fly  in  the 
spider's  parlor,  etc.     Or  they  may  take  long  breaths  by  pretending   to  smell   the  "Bios- 


RHYTHMIC   ACTION   PLAYS   AND    DANCES  9 

soming  Flowers  ';  the  violets  mentioned  in  the  "Fairies'  Moonlight  Dance";  the  baking 
pancakes  in  "The  Pancake  Man";  the  cake  in  "Pat-a-cake."  The  class  may  try  to  see 
how  many  times  they  can  say  "tinkle"  on  one  breath  to  imitate  the  leading  of  "Peter 
Pan"  by  "Tinker  Bell."  For  sustaining  exhalation  the  children  may  pretend  to  blow 
various  things,  as  example,  blowing  of  such  seeds  as  the  dandelion  by  the  wind  in 
"Blossoming  Flowers."  The  rooster  in  "Cock-a-doodle-doo,"  "The  Stork"  or  the  birds  in 
"Blossoming  Flowers"  may  be  supposed  to  drop  feathers  which  the  children  blow.  Many 
appropriate  themes  will  doubtless  suggest  themselves  to  the  teacher. 

Often  if  the  children  are  given  some  mental  image  upon  which  to  concentrate  their 
attention,  while  the  circulation  is  adjusting,  their  excitement  will  pass  away.  Also  when 
restlessness  ensues  from  concentration  or  an  endeavor  to  acquire  some  difficult  co-ordina- 
tion it  will  rest  the  mind  if  their  attention  is  held  to  some  quieting  thought.  This  con- 
centration upon  a  mental  image  may  best  be  done  with  eyes  closed. 

The  teacher  may  present  the  image  in  some  such  form  as  this: 

"How  many  of  you  ever  saw  an  apple  tree  with  flowers  on  it?" 
"What  color  were  the  flowers?" 

"What  happened  to  the  petals  when  the  wind  blew?" 

"Suppose  we  close  our  eyes  and  try  to  think  just  how  they  looked  flutter- 
ing down  in  a  cloud  of  pink." 

This  may  be  given  preceding  the  dance  "Come,  My  Dolly." 

Or  the  teacher  may  use  this  means  of  suggesting  the  image  to  the  class: 

"Let's  close  our  eyes  and  try  to  remember  what  a  snowstorm  looks  like. 
After  you  have  thought  about  it  for  a  while  I  am  going  to  ask  you  to  tell  me 
about  it.  What  street  did  you  play  you  were  on?  And  how  large  were  the 
snowflakes,  and  how  fast  did  they  fall?" 

Other  suggestions  correlated  with  these  Action  Plays  are: 
Listening  to  the 

Black  Sheep  bleat, 

Santa  Claus'  sleigh  bells, 

The  tick  of  the  clock  which  the  mouse  ran  up  in  "Hickory  Dickory  Dock." 

Imagining  they  are  watching 

The  man  in  the  moon. 

Twinkling  little  stars. 

Fireflies  flickering  and  flashing, 

Christmas  tree  and  noticing  how  it  is  trimmed  and  what  presents  are  on  the 
tree. 

The  autumn  wind  scattering  the  leaves, 

The  Kewpies  flying  down  from  the  sky. 

The  three  ships  sailing.  Fairy  Ship  and  the  ship  in  which  Bobby  Shafto  sailed 
to  sea. 

Closing  the  eyes  is  restful  in  itself.  Softly  singing  "Hush-a-bye  Baby"  or  "Bye  Baby 
Bunting"  with  the  eyes  closed  will  also  have  a  quieting  effect.  Another  suggestion  might 
be  to  ask  the  children  to  show  how  quiet  and  ^till  the  Brownies  and  Fairies  keep  during 
the  day.  Much  of  the  success  of  such  suggestions  depends  upon  the  quieting  and  sooth- 
ing influence  of  the  teacher's  voice  and  manner  when  she  presents  them  to  the  class. 


10  RHYTHMIC   ACTION  PLAYS  AND   DANCES 

THE  PROGRESSIVE   ORDER   OF  ARRANGING   THE  ACTION   PLAYS 

The  History  of  Rhythmic  Action. — The  rapid  and  unprecedented  spread  of  the  Folk 
Dance  movement  throughout  this  country  has  not  been  the  result  of  chance  but  rather 
because  these  dances  are  of  such  incalculable  value  from  a  recreational  and  educational 
pomt  of  view.  Aesthetic  Dancing  is  the  culmination  in  our  age  of  a  long  process  of 
evolution  in  the  art  of  bodily  expression,  and  as  such  is  a  sister  to  Music  and  Drawing, 
and  like  them  it  has  its  well-developed  technique.  Many  of  the  peasant  dances,  in 
reality,  represent  some  of  the  earlier  stages  of  this  evolution.  They  are  less  technical, 
being  a  popular  form  of  amusement  among  the  crude  peasants  and  have  a  strong  element 
of  imitation,  their  themes  being  frequently  drawn  from  everyday  life,  as  instanced  by 
such  titles  as  "The  Trip  to  Stockholm"  and  "The  Shoemaker."  It  will  readily  be  seen 
that  these  dances,  characterized  by  a  large  amount  of  energetic  action,  playful  panto- 
mime and  irresistably  catchy  and  vivacious  musical  accompaniment  must  strongly  and 
universally  appeal  to  children,  whose  very  instinct  prompts  them  to  express  themselves 
in  joyous  and  intense  physical  activity.  However,  the  Folk  Dances  are  dances  of  adults 
and,  as  such,  presuppose  the  motor  skill  of  the  adult  peasant  and  therefore  are  generally 
unsuitable  for  children  under  the  age  of  eight  or  nine  years.  The  Folk  Dances  represent 
an  advance  over  the  more  primitive  forms  in  that  they  are  more  formal;  the  exact 
actions  are  well  defined,  while  their  complicated  figures,  couple  evolutions,  and  difficult 
steps  are  a  distinct  advance  over  the  individualistic  actions  of  the  pantomime  dances. 

The  earliest  form  of  the  dance  included  only  the  familiar  steps  of  walking,  running 
and  leaping.  Each  dancer  went  through  his  actions  alone  without  the  assistance  of  others, 
—  that  is,  there  was  more  or  less  freedom  of  choice  of  the  form  and  manner  of  expression. 
The  circle  formation  was  one  of  the  most  common  groupings,  as  the  dancing  usually  took 
place  around  a  fire,  or  some  object  such  as  the  totem  pole.  To  the  savage  the  dance  was 
the  highest  form  of  expression  for  his  strongest  emotions.  The  mimicry  of  the  Folk  Dance 
is  inherited  from  the  earliest  forms. 

The  Progressions. — It  is  neither  practical  nor  necessary  that  the  small  child  in 
learning  to  dance,  should  progress  through  the  exact  stages  which  mark  the  evolution  of 
the  dance.  This  would  involve  the  teaching  of  much  that  is  uncouth  and  in  every  way 
undesirable  and  unnecessary.  Nevertheless,  a  study  of  the  history  of  dancing  yields 
many  valuable  suggestions  for  the  arrangement  of  a  course  for  the  rhythmic  motor 
education  of  the  child.  As  the  first  attempts  of  the  savage  at  a  rhythmic  movement  of 
his  feet  made  use  only  of  those  movements  he  already  knew,  just  so  we  ought  to  start 
the  children  to  dance  by  first  making  rhythmic  those  actions  which  the  child  has  previ- 
ously acquired,  namely  walking,  running  and  skipping.  The  first  thing  for  us  to  do  is  to 
decide  what  we  wish  to  teach  and  then  link  these  advanced  steps  with  what  the  child 
knows  by  a  carefully  graded  order  of  arrangement.  After  we  have  decided  what  our  goal 
is  to  be,  we  must  next  analyze  and  make  a  careful  study  of  all  the  essential  charac- 
teristics and  basic  elements  of  these  advanced  dances.  All  dances  are  capable  of  being 
broken  up  into  more  simple  forms  which,  in  the  last  analysis,  are  evolutions  of  walks, 
runs,  sUdes  and  skips.  Too  much  importance  cannot  be  placed  upon  making  rhythmic 
work  simple  and  easy  for  the  child  by  linking  the  unknown  complicated  steps  with 
what  he  already  knows.  It  is  possible  to  arrange  these  basic  elements  of  steps  in  several 
different  orders  of  progression,  each  of  which  has  much  to  recommend  it;  however,  any 
successful  progression  must  be  so  arranged  that  each  new  element  added  is  so  natural  a 
sequence  of  the  preceding  that  it  is  almost  a  spontaneous  evolution.  The  preparatory 
teaching  should  be  such  that  when  it  is  desired  to  teach  a  new  dance,  the  teacher  has 
only  to  show  how  previously  acquired  actions  may  be  united  in  a  new  way  with  as  small 
an  element  as  possible  of  the  unacquired.  It  is  not  claimed  nor  expected  that  the  follow- 
ing progressively  arranged  Action  Plays  fulfil  this  ideal  nor  that  they  will  supersede  all 


RHYTHMIC   ACTION  PLAYS  AND   DANCES  11 

other  rhythmic  work  now  in  successful  use.  They  are  merely  presented  as  representing 
one  possible  set  of  progressions.  It  is  recommended,  if  the  teacher  wishes  to  use  this  pro- 
gressive order,  that  she  analyze  those  games,  which  she  has  in  the  past  found  suitable 
for  her  classes,  and  either  substitute  them  in  the  proper  place  for  those  included  here,  or 
use  them  as  desirable  and  profitable  additions  to  the  course.  On  the  other  hand,  if  the 
teacher  wishes  to  use  some  other  series  of  progression;  then  the  grading  here  may  be  en- 
tirely disregarded,  as  many  of  the  rhythms  require  about  an  equal  amount  of  skill  and  may 
be  given  simultaneously.  If  no  progression  is  used,  then  the  dances  cannot  be  expected 
to  lead  up  as  efficiently  to  more  advanced  work.  This  would  tend  to  make  each  rhythm 
an  end  in  itself.  While  due  regard  has  been  paid  to  making  the  rhythms  pleasurable  to 
the  children  and  attractive  and  pleasing  to  the  spectator,  the  ideal  in  mind  has  been  to 
educate  and  develop  the  child  and  unfold  his  powers.  Although  each  represents  a  com- 
plete unit,  they  are  not  ends  in  themselves  but  represent  a  series  of  stages  leading  up  to 
higher  things.  None  of  these  Action  Plays,  —  with  the  possible  exception  of  "Bean  Por- 
ridge Hot,"  —  is  accompanied  by  traditional  action,  although  traditional  singing  games 
and  dances  have  been  freely  borrowed  from  for  ideas.  This  has  been  considered  both 
excusable  and  inevitable,  considering  that  the  course  is  supposed  to  be  preparatory  to 
more  advanced  work.  After  its  completion  it  is  anticipated  that  the  children  will  be 
familiar  with  many  of  the  couple  evolutions,  rhythmic  steps  and  actions  which  are  a  part 
of  our  most  popular  Folk  Dances.  Some  of  the  rhythms  are  almost  absurdly  short  and 
simple,  as  "To  Market,"  but  it  must  be  remembered  that  little  children  always  start 
memorizing  with  short  words  and  phrases.  In  teaching  dancing  to  adults  the  progression 
need  neither  be  as  slow  nor  elaborate.  Often  in  a  single  lesson  all  the  steps  of  a  simple 
dance  may  be  taught  and  assembled.  This  method  is  not  generally  satisfactory  for  small 
children.  It  is  better  to  teach  each  action  as  a  separate  rhythm  thus  giving  the  children 
an  immediate  interest.  For  example,  "See-saw  No.  Ill"  is  prepared  for  by  a  whole  series 
of  progressions  and  when,  after  the  child  has  learned  all  its  integral  parts  and  the  dance 
as  a  whole  is  given  him,  the  sequence  of  figures  and  final  synthesis  and  assembling  of 
parts  will  be  a  revelation  and  a  joy  to  him. 

The  Teaching  of  the  Action  Plays. — Learning  to  dance  is  a  matter  of  physical 
growth  and  mental  development  and  this  should  be  thoroughly  recognized  by  the  teacher. 
When  this  is  properly  understood  the  importance  of  progressing  slowly  will  be  appreci- 
ated, and  the  futility  of  hurrying  the  class  to  cover  a  course  will  be  evident.  Disregard 
of  this  important  point  will  certainly  endanger  the  success  of  all  future  work  and  give  the 
child  a  large  amount  to  unlearn.  What  a  child  learns  he  should  learn  correctly,  and  this 
he  cannot  do  if  he  is  hurried  on  to  something  new  before  he  is  properly  prepared.  One 
of  the  most  difficult  tasks  in  motor-education  is  to  correct  a  fixed  undesirable  habit  of 
motor-reaction.  The  time  to  correct  a  spelling  lesson  is  said  to  be  before  it  is  written. 
Just  so  with  dancing,  the  time  to  teach  good  form  is  when  an  action  is  first  presented, 
as  example,  the  child  should  from  the  first  be  encouraged  to  dance  lightly  and  with  good 
knee  action  to  obviate  jars.  To  teach  intelligently  any  form  of  Physical  Training  it  is 
necessary  that  the  teacher  constantly  keep  in  mind  something  of  the  mental  and  physical 
processes  involved  in  acquiring  a  new  co-ordination,  for  in  this  way  only,  can  she  nicely 
judge  when  the  class  is  prepared  to  pass  on  to  a  new  stage  in  the  progression.  Briefly, 
this  is  the  way  a  new  movement  is  acquired: 

1.  The  teacher  helps  the  child  to  construct  a  mental  image  of  the  desired  action. 

(a)  Through  the  eye  (by  demonstration  of  the  movement). 

(b)  Through  the  ear  (by  oral  description). 

(c)  By  stimulating  his  imagination. 

The  mental  image  must  be  constructed  by  a  new  association  of  what  he  already  knows. 


12  RHYTHMIC   ACTION   PLAYS   AND   DANCES 

2.  The  child's  brain  sends  out  an  impulse  through  the  nerves  to  reproduce  the  image 
in  physical  activity. 

3.  This  impulse  stimulates  certain  muscles,  which  respond  with  an  effort  to  produce 
the  desired  action. 

4.  The  stimulated  muscles  may  not  at  first  hit  upon  the  correct  reaction  to  corre- 
spond to  the  mental  image,  in  which  case  an  experimental  stage  will  follow  the 
sending  out  of  the  impulse  by  the  brain.  This  experimental  stage  is  called  the 
period  of  "trial  and  error."  After  some  experimenting  and  practicing,  the  stimu- 
lated muscles  will  learn  to  do  team  work  and  the  desired  action  will  result. 

5.  The  movement  must  be  repeated  a  sufficient  number  of  times  for  the  impulse 
which  stimulates  the  action  to  make  a  nerve  pathway  and  thus  fix  the  proper  habit 
of  reaction. 

6.  After  the  habit  of  reaction  has  been  fixed,  the  movement  becomes  reflex  and  may 
be  stimulated  without  the  direction  of  the  brain,  the  control  passing  to  the  spinal 
cord. 

From  the  above  rapid  and  superficial  survey  may  be  deduced  that  the  teacher  should 
first  of  all  take  great  care  in  building  up  the  mental  image  of  the  action  which  she  wishes 
reproduced;  for  if  the  image  of  the  desired  action  is  not  properly  constructed,  she  cannot 
expect  the  reaction  to  be  satisfactoiy.  Without  making  the  presentation  tedious  or  con- 
fusing she  should  help  the  child  to  construct  as  accurate  an  image  as  possible  of  what 
she  desires  to  teach.  It  is  believed  that  little  descriptive  and  dramatic  Action  Plays  are 
a  valuable  aid  to  such  a  presentation.  Mistakes  and  probable  misunderstanding  should 
be  guarded  against  by  looking  ahead  for  possible  errors  and  then  incorporating  in  the 
rhythm  or  the  manner  of  its  presentation  some  element  which  will  make  clear  the  point 
which  is  liable  to  be  misinterpreted.  That  is,  instead  of  caution  against  a  mistake,  let  her 
tell  the  child  to  do  something  which  will  in  itself  induce  the  correct  form.  In  "Diddle, 
Diddle  Dumphng"  we  have  a  rhythm  which  is  bound  to  introduce  the  desired  knee  action 
into  the  stamp,  as  the  knees  are  certain  to  be  raised  waist-high,  because  of  the  previous 
knee  action  of  the  quick  run  in  place. 

If  the  child  is  very  much  interested  and  anticipates  with  delight  trying  to  make  any 
desired  motion,  then  the  impulse  sent  out  to  the  muscles  will  be  correspondingly  strong 
and  successful. 

Great  patience  is  required  in  teaching  any  form  of  Physical  Training  because  of  the 
period  of  "trial  and  error,"  when  the  class  may  perhaps  be  indifferently  accomphshing 
what  is  expected  of  them.  The  teacher  should  not  at  this  time  fret  herself  with  useless 
endeavors  to  correct  mistakes,  nor  should  she  distract  the  attention  of  the  class  by  ad- 
monitory commands  and  descriptions.  Give  the  class  time  to  do  so  and  they  will  prob- 
ably prove  that  the  apparent  mistakes  were  only  made  because  the  muscles  were  learning 
how  to  respond  to  the  stimulus  of  the  impulse,  by  trying  out  how  best  to  make  the  move- 
ment. Always  let  the  teacher  remember  that,  if  she  can  be  reasonably  sure  that  the 
children  have  a  correct  mental  image  of  the  desired  action,  if  this  action  is  within  the 
abiUty  of  the  class,  and  if  the  desire  to  reproduce  it  is  sufficiently  strong,  then  the  proper 
co-ordination  is  almost  sure  to  be  acquired,  if  the  class  is  allowed  sufficient  time  for  ex- 
perimenting and  practicing. 

The  time  when  the  action  becomes  reflex  is  also  liable  to  bring  discouragement,  for 
after  the  class  has  been  correctly  executing  the  movement  for  some  little  time,  the  teacher 
may  look  around  and  discover  that  a  part  or  all  of  the  children  seem  to  have  lost  their 
recently  acquired  skill.  This  is  the  truth,  for  when  the  control  of  the  action  passed  from 
the  brain  to  the  spinal  cord  some  link  in  the  chain  of  stimulus,  impulse  and  reaction  was 
lost.     This  break  in  the  association  happens  quite  frequently,  especially  when  the  rhythm 


RHYTHMIC   ACTION   PLAYS  AND   DANCES  13 

requires  such  co-ordination  as  the  taps  in  "The  Motorman."  This  loss  of  abiHty  to  per- 
form the  movement  is  really  not  as  serious  as  it  appears  to  be.  The  teacher  has  only  to 
go  back  to  the  beginning  and  briefly  review  her  previous  presentation  of  the  action,  which 
will  serve  to  bring  the  direction  of  the  movement  back  to  the  brain  and  thus  re-establish 
the  proper  reaction.  It  may  be  necessary,  if  the  co-ordination  is  difficult  to  acquire,  to 
repeat  such  a  review  a  number  of  times. 

When  teaching  a  new  movement,  all  confusing  and  complicating  elements  should  be 
eliminated  in  order  that  the  presentation  may  be  as  simple  as  possible.  It  is  therefore, 
in  most  cases,  best  to  teach  the  words  of  the  Action  Play  before  the  movement  is  shown. 
The  teaching  of  the  words  may  be  taken  care  of  in  the  singing  circle  or  song  period. 
The  use  of  Mother  Goose  rhymes  minimizes  the  number  of  songs  to  be  taught,  as  many 
are  already  familiar  to  the  children.  It  should  not  be  expected  that  the  children  .should 
constantly  sing  when  they  are  learning  a  difficult  action.  When  the  children  seem  to  pre- 
fer to  do  the  action  without  singing  the  words  aloud,  the  teacher  may  sing  and  thus  fur- 
nish a  guide  to  the  action,  much  as  a  mother  sings  "Pat-a-cake,  pat-a-cake,  baker's  man" 
when  she  is  teaching  her  baby  to  "pat-a-cake."  When  the  movement  is  difficult  the 
musical  accompaniment  often  is  distracting.  During  the  period  of  "trial  and  error"  it  is 
frequently  easiest  for  each  child  to  take  his  own  time  when  experimenting  how  to  accom- 
plish the  movement;  therefore,  the  uniformity  of  time  set  by  the  music  acts  as  a  hindrance 
instead  of  giving  assistance.  A  step  which  involves  a  leap  or  a  jump  demands  that  the 
attention  be  divided  between  the  learning  of  the  mechanism  of  the  step  and  acquiring 
the  difficult  task  of  properly  adjusting  the  body  weight.  For  this  reason  the  mechanism 
should  be  taught  by  walking  the  step  and  adding  the  leap  after  the  proper  form  has  been 
mastered. 

The  plan  of  presenting  a  Song  Play  may  follow  this  order: 

1.  Teach  the  song. 

2.  Review  previously  acquired  actions  upon  which  new  movement  is  based. 

3.  Present   the  new  action  in  such   a  way   that   the  child  will  construct  the 
proper  mental  image. 

4.  Let  the  children  walk  the  new  step  or  movement  without  leaps,  the  teacher 
singing  the  words  of  the  Song  Play. 

5.  Let  the  children  walk  the  step  with   the  music  slowly  accompanying  the 
action.     The  tempo  should  follow  the  action  of  the  class. 

6.  Let  the  children  dance  the  step  with  the  music  following  the  action  of  the 
class. 

7.  Let  the  children  dance  the  step  while  singing  the  words,  following  the  time 
set  by  the  piano. 


RHYTHMIC   ACTION  PLAYS 
AND   DANCES 


PAET    TWO 


PART  TWO 

CONTENTS 

Rhythmic  Action  Plays  and  Dances  arranged  progressively  for  teaching. 


PAGE 

Chapter  I.      Walking,     Marching      and 

Running 23 

The  Kewpies '23 

The  Crooked  Man      24 

Little  Miss  Muffet      26 

Wee  Willie  Winkie     27 

Lucy  Locket 28 

Sing  a  Song  of  Sixpence   ..*....  29 

The  Pancake  Man      81 

The  Tin  Soldiers 33 

Chapter  II.     Sliding 35 

Playing  Train 36 

Here  We  Go  on  a  Merry-go-round  38 

Santa  Claus  and  the  Christmas  Tree  .  40 
Oh  Where,  Oh  Where  Has  My  Little 

Dog  Gone? 42 

Yankee  Doodle 86 

To  Market 43 

Hickory,  Dickory,  Dock 44 

Peter  Pan      45 

Pussy  Cat,  Pussy  Cat 47 

Three  Funny  Old  Men     49 

Chapter  III.     Knee,     Hip     and     Ankle 

Action 51 

The  Stork 51 

See-saw,  No.  I 53 

Goosey,  Goosey,  Gander 54 

Diddle,  Diddle  Dumpling 55 

Walking  on  Stilts 57 

The  Motorman 57 

Cock-a-doodle-doo 61 

The  Man  in  the  Moon     63 

Bobby  Shafto 66 


PAGE 

Chapter  IV.     Hippity    Hops,    Skips   and 

Jigs 67 

Hush-a-bye  Baby 68 

See-saw,  No.  II 69 

Here  We  Go  on  a  Merry-go-round  38 

Old  King  Cole 71 

Dame,  Get  Up  and  Bake  Your  Pies.  73 

Ride  A  Cock  Horse 74 

Hippity  Hop  to  the  Barber  Shop  .    .  75 

Chapter  V.     Balance     Step    and     Point 

Step 77 

Leg  over  Leg.     (Music) 90 

Twinkle,  Twinkle,  Little  Star,  No.  I   .  78 

Come,  My  Dolly 79 

The  Fireflies'  Dance 82 

The  Fairies'  Moonlight  Dance     ...  84 

Chapter  VI.     The  Step  Hop 85 

Leg  over  Leg.     (Music) 90 

Yankee  Doodle 86 

Jack  Be  Nimble 89 

Leg  over  Leg.     (Game) 90 

Jack  and  Jill,  No.  I 91 


Chapter  VII.    The  "  Hop  Waltz  "  . 

See-saw,  No.  Ill 


Chapter  VIH.     Sliding 
Use  of  the  Feet  . 


with     Alternate 


92 
92 

96 


Children  Sliding 97 

The  Fairies'  Moonlight  Dance  (Music)      84 

The  Christmas  Ships      98 

Brownies  and  Fairies      100 

Jack  and  Jill,  No.  II 103 

The  Little  Nut  Tree      105 


15 


16 


CONTENTS 


PAGE 

Chapter  IX.  Couple  Dances  and  other 
Action  Plays  in  which  the  Forma- 
tion is  Composed  of  Several  Small 

Groups 107 

Bow-wow-wow      109 

Two  Little  Blackbirds HO 

The  Little  Pigs 112 

Pat-a-cake 114 

Three  Little  Kittens \    .  116 

Ba,  Ba,  Black  Sheep     120 

The  Old  Man  in  Leather     123 

Hippity    Hop    to    the    Barber    Shop. 

(With  change  of  partners)          ...  75 

Twinkle,  Twinkle,  Little  Star,  No.  II  126 

Girls  and  Boys,  Come  Out  to  Play     .  129 


PAGE 

Puss,  Puss,  Grey  Cat 132 

Chapter  X.     Miscellaneous  Action  Plays   135 

The  Fairy  Ship 136 

Little  Boy  Blue       138 

The  Spider  and  the  Fly 138 

Mistress  Mary      139 

The  Elephants'  Dance 140 

Simple  Simon 140 

Humpty  Dumpty 143 

Peter  Piper  Says  Please 144 

Hey  Diddle  Diddle 144 

Poor  Dog  Bright 145 

Bye  Baby  Bunting 147 

Blossoming  Flowers 149 


GLOSSARY 


CLAP.  Raise  the  left  hand  forward  about  waist  high, 
palm  facing  upward;  slap  the  palm  of  the  left  hand  with 
the  fingers  of  the  right.  This  way  is  less  liable  to  sting 
and  will  make  a  louder  noise  than  when  the  palms  are  struck 
together.  The  position  is  a  very  convenient  one  from  which 
to  pass  to  other  movements,  a.s  it  does  not  involve  rotat- 
ing the  forearm  as  is  necessary  when  the  fingers  are  pointed 
upward. 


CURTSY.  Step  backward  on  the  right  foot;  bend  the 
right  knee,  straighten  left  leg  and  incline  the  body  slightly 
forward.  At  the  same  time  the  skirts  may  be  grasped  at 
either  side  and  spread  sideways. 


KNEELING.     To  kneel  in  a  dance,  bend  the  left  knee  and  place  the  right  knee  on 
the  floor,  from  which  position  it  is  very  easy  to  arise  and  continue  the  dance. 


FINGER  SHAKE.  Raise  the  left  arm  forward  waist 
high,  forearm  parallel  to  the  floor,  palm  facing  downward. 
Rest  the  right  elbow  lightly  on  the  back  of  the  left  hand 
and  raise  the  right  forearm  perpendicular  to  the  left  hand. 
Point  the  right  forefinger  upward.  In  shaking  the  finger 
the  movement  is  not  so  much  a  flexion  of  the  elbow  as  a 
rotation  of  the  forearm  which  turns  the  finger  about  one 
third  of  a  circle  from  right  to  left,  thus  turning  the  point 
of  the  finger  toward  partner.  The  finger  shake  may  be  ex- 
pressive of  accusation,  inquisition,  derision,  playful  demon- 
stration of  vivacity  or  mischievous  display  of  tender  senti- 
ment. 


17 


18 


GLOSSARY 


ARM  HOOK.  As  partners  stand  facing  and  slightly  to  the  side,  they  hook  their 
nearest  arms  together  by  linking  them  at  the  elbow. 

STAMP.  Raise  the  knee  and  incline  body  slightly  toward  knee;  then  slap  the  floor 
with  the  foot  by  forcibly  straightening  the  knee,  at  the  same  time  raise  body  to  an  erect 
posture. 

JUMPING  (e.g.  as  in  "Old  King  Cole").  Bend  the  knees;  stretch  the  knees  and  leap' 
in  the  air;  land  on  the  floor  with  the  knees  separated,  the  heels  raised  and  the  knees  bent. 
The  smallest  child  should  be  taught  to  land  properly  with  the  knees  bent  to  obviate  jar. 
The  teaching  should  be  by  demonstration  and  suggestion.  The  teacher  may  suggest  that 
the  class  listen  to  see  who  can  come  down  without  making  any  noise.  She  may  also  illus- 
trate the  jar  which  comes  from  landing  stiff  legged  and  the  easy  and  quiet  landing  which 
results  from  proper  form. 

HIGH  KNEE  BENDING.  Raise  the  knee  until  the  thigh  is  parallel  to  the  floor. 
Make  a  right  angle  at  the  knee  and  point  the  toe  toward  the  floor. 


HOP  WALTZ.  This  step  is  a  modified  form  for 
small  children  of  a  common  step  in  Folk  Dancing,  the 
"Step  Hop  Waltz."  A  careful  description  of  the  mechan- 
ism is  given  in  Chapter  VII. 


BALANCE  STEP.     Step  sideways  and  point  the  toe  of  opposite  foot  forward,  then 
raise  and  lower  the  heel  of  the  supporting  foot. 

POINT   STEP. 

Count  1.     Raise  the  right  foot  and   point  the  right  toe  forward,  turning  the 

right  heel  to  the  left  and  forward. 

Count  2.     Raise  the  toe  from  the  floor  by  raising  the  leg  as  a  whole. 

Count  3.     Step  forward  on  the  right  foot. 

Repeat  with  the  left  foot  and  continue  alternating  right  and  left  foot. 

WRING   THE   DISH   RAG.     Two  children  stand   facing  with  their  hands  clasped. 

They  turn  around  in  place  by  turning  away  from  each  other,  back  to  back  and  toward 

each  other  again;  this  they  do  without  letting  go  of  hands.     First  the  clasped  hands  are 

raised  in  the  direction  they  are  to  turn  and  the  children  turn  away  from  each  other  under 

the  arch  thus  formed  by  the  raised  arms.     The  clasped  hands  are  then  passed  over  the 

head  and  down  at  the  other  side  as  they  turn  back  to  back.     As  the  children  complpte 

the  turn  and  face  each  other  the  other  clasped  hands  are  raised  and  passed  over  the  head 

following  the  same  direction  and  path  as  those  first  to  be  raised.  j 

■1 
IN  PLACE.     An  action  executed  in  place  means  that  the  dancer  performs  the  action 

on  the  spot  where  he  is  standing  and  does  not  move  away  in  any  direction  from  the 

position  he  is  occupying  on  the  floor. 


GLOSSARY  19 

^-'  ^^                  IN  LINE  OF  DIRECTION  is  a  term  which  means  direc- 

/  ^        tion  of  movement  ai'ound  the  circle,  the  progression  being  coun- 

/  V    ter  clockwise.     When  a  dancer  is  facing  the  centre  of   a   circle 

r  \    the  movement  is  to  his  right. 

'  I            The  use  of  this  command  does  away    with    much    unneces- 

\  '    sary  and   often   involved    explanation.     The   children   should   be 

N  /       accustomed  to  the  use  of  the  term   as   soon   as   possible   by  the 

^sv  ^        teacher  naming  the  action  whenever  opportunity  offers. 


NEIGHBOR  is  the  term  used  to  designate  the  one  who  stands  next  to  the  dancer  in 
the  formation  but  who  is  not  his  partner. 


I     }  V  ' 


iD  <i,p 


N Neighbors. 

P Partners. 


OUTSIDE  PARTNER  is  the  partner  who  is  farthest  away  from  the  centre  of  the 
circle. 

INSIDE  PARTNER  is  the  partner  nearest  the  centre  of  the  circle. 

OUTSIDE  HANDS  AND  FEET  are  the  left  hands  and  feet  of  the  inside  partners 
and  the  right  hands  and  feet  of  the  outside  partners  when  in  circle  formation,  facing  in 
line  of  direction. 


O Outside  Feet- 

I Inside  Feet. 


c^ 


cr:3> 


INSIDE  HANDS  AND  FEET  are  the  right  hands  and  feet  of  inside  partners  and  left 
hands  and  feet  of  outside  partners  when  in  circle  formation,  facing  in  line  of  direction. 


20  GLOSSARY 

SINGLE  CIRCLE  FACING  INWARD  is  the  formation  in  which  the  dancers  stand 
side  by  side  around  a  circle  facing  the  centre. 


SINGLE  CIRCLE,  PARTNERS  FACING  is  the  formation  in  which  every  other  one 
in  the  circle  faces  in  the  opposite  direction;  that  is,  partners  stand  facing  each  other  with 
their  sides  to  the  centre  of  the  circle. 

A    S 

DOUBLE  CIRCLE  is  the  formation  of  two  concentric  circles,  facing  inward  or  facing 
outward  as  desired. 

o  ^^  o 


GLOSSARY  21 

DOUBLE  CIRCLE,  FACING  IN  LINE  OF  DIRECTION  is  the  formation  in  which 
partners  stand  side  by  side  in  couples. 


22 


KEY  TO  THE  DESCRIPTIONS   OF  THE  ACTION   PLAYS 

FORMATION  appears  immediately  after  the  music  and  indicates  the  organization 
or  arrangement  of  the  group  when  the  game  begins. 

THE  ITALICIZED  COLUMN  TO  THE  LEFT  of  the  page  gives  the  words  of  the 
Action  Play,  when  the  column  is  read  from  top  to  bottom. 

THE  COLUMN  TO  THE  RIGHT  of  the  page  gives  the  actions  of  the  song,  when 
the  column  is  read  from  top  to  bottom. 

TO  STUDY  OUT  AN  ACTION  PLAY  read  the  page  crosswise.  The  words  of  the 
song  appear  in  the  same  spacing  directly  opposite  the  description  of  their  drama- 
tization. 

THE  PICTURES  are  in  juxtaposition  to  the  part  of  the  text  which  they  illustrate. 

THE  SPACINGS  between  the  descriptions  of  the  action  serve  to  show  just  how 
much  of  the  game  or  dance  is  done  to  the  opposite  words. 

This  plan  has  been  followed  throughout  the  descriptions  wherever  it  seemed 
practical  or  necessary,  in  order  to  preclude  any  misunderstanding  of  just  what 
action  is  intended  for  each  part  of  the  song.  This  arrangement  of  the  descriptions 
also  enables  the  teacher  to  easily  refer  to  any  point  in  the  description  without 
rereading  the  whole. 

Most  games  and  dances  are  intended  to  be  continuously  repeated  as  many 
times  as  is  desired. 

Unless  otherwise  stated,  concentric  circles  are  composed  of  the  same  number 
of  children. 


PART  TWO 

CHAPTER   I 

Walking,  Marching  and  Running. — This  group  includes  Action  Plays  which  have  a 
strong  element  of  pantomime,  and  yet  require  little  skill  beyond  that  which  the  children 
already  possess.  Marching  is  essentially  rhythmic  walking  and  "The  Tin  Soldier,"  with  which 
the  group  ends,  is  intended  to  start  the  children  in  formal  marching.  The  aim  of  the 
group  as  a  whole  is  to  organize  the  class  into  the  most  simple  of  all  formations,  the  circle, 
and  introduce  to  the  child  the  idea  of  rhythmic  action.  The  running  is  of  the  most  in- 
formal kind  and  little  attention  is  paid  to  keeping  in  time  with  the  music. 


Progression  for  Teaching 


The  Kewpies. 
The  Crooked  Man. 
Little  Miss  Muffet. 
Wee  Willie  Winkie. 


Lucy  Locket. 
Sing  a  Song  of  Sixpence. 
The  Pancake  Man. 
The  Tin  Soldiers. 


THE    KEWPIES* 


Irene  E.  Phillips  Moses 


S 


— I- 


German 


^ 


e1 


The      Kew  -  pies,      the     Kew  -  pies,      all      round     us      they  spread  ;    They 


— b h- 


S 


Jl 


X 


— b- 


f -^ 


^=^1 


s 


«=*: 


t^^ 


1\ 


-A- 


:i 


:&: 


dance     and        they      whirl 


till        they        turn      (Ma    -    ry's)      head. 


FE 


il 


I 


^ 


^- 


*  The  word   Kewpie  is  here  used  with   the  kind  permission  of  the  Woman's  Home  Companion,  where  the 
Kewpies  may  be  seen  from  month  to  month. 

23 


24 


RHYTHMIC  ACTION  PLAYS  AND  DANCES 


The  children  join  hands  in  a  circle  and  walk  around  in  line  of  direction  swinging 
their  arms  and  singing  the  words  of  the  song.  On  the  words  "turn  (Mary's)  head"  some 
child  in  the  circle  previously  chosen  is  named  in  the  song  and  turns  around  with  her  back 
to  the  centre  of  the  circle  and  again  joins  hands  with  her  neighbors.  The  words  are 
repeatedjover  and  over,  and  at  each  repetition  the  child  to  the  right  of  the  last  one  to 
turn  is  named  in  the  song  and  turns  around.  This  continues  until  all  have  tiu-ned  with 
their  backs  to  the  centre  of  the  circle,  when  the  children  in  the  same  rotation  turn  round 
one  by  one  and  face  the  centre  again. 

Note:  This  is  a  simple  game  but  very  popular  with  small  children.  It  has  the  same 
action  as  the  old  English  game  "Green  Gravel"  but  with  a  less  sentimental  theme.  The 
teacher  may  tell  the  class  about  Rose  O'Neill's  Kewpies  and  their  pranks  which  turn  peo- 
ples' heads,  showing  them  the  pictiu-es  of  these  delightful  little  people. 


Mother  Goose 


THE   CROOKED    MAN 

Mae  Rehberg  Scheuerman 


Allegretto 


^ — s — N — V 


|SEJi||ftii8 


m 


\ — N — 1^' — N- 
— •— bS — *-r 


-V— ^- 


^-ir \-^  —\~ PS 1^ IN 1 1 H- 


There  was  a  crooked  man,he  walked   a  crooked  mile,  He  found  a  crooked  sixpence  a  ■ 

■^  *  ♦  it  _ 

•F — , i^ 


H- 


tr- 


5 


f 


RHYTHMIC  ACTION  PLAYS  AND  DANCES 


25 


-#^r 


^ 


E 


gainst      a      crook  -  ed     stile; 


.^ 


He     bought  a      crook  -  ed      cat,     which 


X 


-^ 


m 


^= 


imi 


^tA: 


d 1 


-^# — • — •■ 


:e^= 


^ 


^ 


3^ 


-N — I \ — I- 


m 


caught  a  crooked  mouse,And  they  all  lived  to-geth-er     in    a     lit-  tie  crooked  house. 


I 


;^=F: 


— i — 


jfc. 


MA 


Formation. — A  single  circle  facing  in  line  of  direction. 

March  forward  in  line  of  direction. 


There  was  a  crooked  man,  he  walked  a  crooked  mile, 
He  found  a  crooked  sixpence  against  a  crooked  stile; 
He  bought  a  crooked  cat,  which  caught  a  crooked  mouse, 

And 


Halt  and  face  centre  of  circle. 


they  all  lived  together 
in  a  little  crooked  house. 


All  kneel  on  right  knee. 


26 


RHYTHMIC   ACTION  PLAYS   AND    DANCES 
LITTLE    MISS    MUFFET 


Mother  Goose 

AUegretto 

^ — N— 


Traditional  Tune 


E3=i 


-4s- 


:1^ 


-N- 


-•zztzi-jt-t 


:& 


:•=#: 


±±i 


s— 


Lit  -  tie  Miss  Muf-fet,  she     sat  on    a  tuf-fet         Eat-ing  curds  and  whey;     There 

accel. 


:s3^ 


^A- 


-•— ^ 


^=i 


^-^- 


-->, — V- 


came  a  black  spi-der  and  sat  down  beside  her  And  frightened  Miss  Muf-fet  a  -  way. 


^ 


^ — d — * 


:i 


■«-*? 


II 


Formation. — All  the  children  kneel  a  good  distance  apart,  on  the  right  knee,  facing 
the  centre  of  the  circle  and  holding  an  imaginary  bowl  in  the  left  arm,  except  an  odd 
one,  the  spider,  who  is  on  the  outside  of  the  circle. 


Little  Miss  Muffet, 
she  sat  on  a  tuffet 
Eating  curds  and  whey; 


There  came  a  black  spider 
and  sat  down  beside  her, 


And  Jrightened  Miss  Muffet  away. 


The  children  go  through 
the  movements  of  pretend- 
ing to  eat  from  the  im- 
aginary bowl  while  the 
spider  steals  around  on 
the  outside  of  the  circle. 


The  spider  sits  down  on 
the  right  side  of  some  one 
whom  he  wishes  to  scare 
away. 


The  one  on  whose  right  the  spider  sits,  jumps 
up  and  runs  away  and  becomes  the  new 
spider.  The  spider  then  moves  into  the  va- 
cant place  and  the  game  continues  as  before. 


RHYTHMIC   ACTION   PLAYS   AND   DANCES 
1     WEE    WILLIE    WINKIE 


27 


Mother  Goose 


Mae  Rehberg  Scheuerman 


=!=" 


=^ 


diziil: 


m 


d — •- 


^- 


Wee  Wil-lie  Winkie  runs  thro'  the  town,  Up  stairs  and  down  stairs  in  his  night-gown  ; 


^^ 


r 


=^=1 


:^: 


~P- 


-P 


k 


* 


^F==^: 


1 


^^^l^^-0- 


:t^=f=F: 


'^=I\2 


-+ 
^ 


m 


Rapping  on  the  window,  crying  thro'  the  look,  Are  the  children  in  their  beds  now  'tis  eight  o'clock  ? 


i 


:4 


i?:i=^: 


^ 


X 


-I — 


5^ 


'^ 


-4- 


3   i- 


Formation. — A  single  circle  facing  inward   with  an  odd  one   (Wee  Willie  Winkie)  on 
the  outside  of  the  circle. 

Wee  Willie  Winkie  runs  through  the  town,  "Wee  Willie"  runs  around  on  outside  of 

Upstairs  and  downstairs  in  his  nightgown;  circle. 


Rapping  on  the  window, 


"Wee  Willie"  stops  and  claps  his  hands  twice,  which  is  the 
signal  for  the  children  to  go  to  sleep.  This  they  do  by  clos- 
ing their  eyes  and  placing  their  cheek  on  the  back  of  their 
hand. 


crying  through  the  lock, 


'Wee  Willie"  places  his  hand  to  his  mouth  as  if  calling. 


Are  the  children  in  their  beds, 
now  'tis  eight  o'clock? 


"Wee  Willie"  steals  into  the  circle  and  looks  around  to  see 
if  all  are  asleep,  then  he  quickly  rans  out  and  taps  someone 
on  the  back,  who  chases  "Wee  Willie"  endeavoring  to  catch 
him  before  he  is  back  to  the  vacant  place  in  the  circle. 
Should  he  succeed,  the  game  begins  again  with  the  same 
"Wee  Willie,"  otherwise  the  chaser  is  the  new  "Wee  Willie" 
for  the  repetition  of  the  game. 


28 


RHYTHMIC  ACTION  PLAYS  AND  DANCES 
LUCY    LOCKET 


Mother  Goose 
Moderato 


Traditional 

accel. 


-P — P — g=p=:^ ^-     0        I — ^ ^ ^ — h P— — * — j^- 

Lu  -  cy   Lock  -  et    lost    her    pock  -  et,     Kit  -  ty     Fish  -  er     found     it;  But 
^  -^9-  -(2-  '     ip:  -(9-        -(2- 


a 


I 


^ 


t 


=^ 


i 


fc^==^ 


ra 


ne'er     a      pen  -  ny     was    there    in't     Ex  -  cept     the     bind  -  ing  round     it. 

S  #  -^  ♦     ^     ♦      ♦ 


Formation. — A  single  circle  standing  facing  inward,  with  a  Lucy  Locket  on  the  outside  of 
circle  chosen  to  drop  the  handkerchief. 


iMcy  Locket  lost  her  pocket, 


Kitty  Fisher  found  it ; 


Lucy  Locket  runs  around  on  outside  of  circle  and  drops 
her  handkerchief  behind  someone  in  the  circle, 

the  one  behind  whom  the  handkerchief  is  dropped  picks  it  up 


But  ne'er  a  penny  was  there  in't      and  pursues  Lucy  Locket  around  the  circle  in  an  effort  to 
Except  the  binding  round  it.  catch    Lucy  Locket    before  she   gains    the  vacant  place. 

Should  she  succeed  in  catching  her,  the  game  begins  again 
with  the  same  Lucy  Locket,  otherwise  Kitty  Fisher  be- 
comes the  new  Lucy  Locket. 


RHYTHMIC   ACTION  PLAYS  AND   DANCES 
SING   A   SONG   OF   SIXPENCE 


20 


Mother  Goose 


Mae  Rehberg  Scheuerman 


:^- 


-V- 


jdijcizpc 


:F:^=^- 


1 


-I — 


Sing  a  song  of     six  -  pence,  a    pock-et   full    of    rye, 
*  it  -     -    -^ 


=P=i: 


t^ 


;& 


Four  and  twen-ty 

-P 


't 


-h- —    I- 


^ 


:^: 


-V- 


black  -  birds,     baked 


m^m 


^^^ 


in     a     pie.  When  the  pie  was     o 


£^ 


=^ 


f= 


pened  the 

L #- 


^i^EJ 


|^=f^G^=a 


-S— N-(=— f> 


— N ^- 

-^ it 


-h— ^- 


The    king  was     in      his    count-ing  house   count  -  ing    out     his  mon  -  ey.     The 


§1|4 


^- 


J^ 


J-r 


S= 


J •* 1 — 


d-T-^- 


? 


;^— I 


in   the    par  -  lor     eat  -  ing  bread  and  hon  -  ey.   The   maid  was  in    the 


I — I — 


#- 


/r\ 


^^^ 


^ 


m 


gar  -  den   hang-ing  out  her  clothes,  A  -  long  came  a  black-bird  and  nipped  off  her  nose. 


ifei 


t: 


X- 


■^ 


■^-r- 


i 


II 


30 


RHYTHMIC   ACTION   PLAYS  AND   DANCES 


Formation. — The  players  stand  in  a  single  circle  facing  in  line  of  direction,  with  their 
hands  placed  upon  the  shoulders  of  the  one  in  front.  A  single  blackbird  stands  in  the 
centre. 


Sing  a  song  of  sixpence,  a  pocket  full  of  rye, 
Four  and  twenty  blackbirds  baked  in  a  pie. 

When  the  pie 

ivas  opened  the  birds  began  to  sing, 

Wasn't  that  a  dainty  dish 

to  set  before  a  king? 


The  king  was  in  his  counting 
house  counting  out  his  money. 


The  queen  was  in  the  parlor 
eating  bread  and  honey. 


The  maid  was  in  the  garden 
hanging  out  her  clothes, 


Along  came  a  blackbird 
and  nipped  off  her  nose. 


The  players  march  around  in  a  circle. 

Face  centre  of  circle. 

March  backward  to  represent  opening  of  pie. 

Raise  hands  forward  upward  as  if  showing  pie. 

Lower  arms  and  bow  forward  as  if  setting 
dish  before  a  king. 

Go  through  motions  to  represent  counting 
out  money.  Hold  up  left  hand  and  with  the 
right  index  finger  touch  each  of  the  fingers  of 
the  left  hand,  beginning  with  the  little  finger. 


Spread  an  imaginary  slice  of  bread 
by  running  the  forefinger  (knife) 
over  left  palm  (bread),  then  hold 
right  hand  to  mouth  as  if  eating. 

Raise  arms  forward  upward  toward 
an  imaginary  line  and  raise  on  toes. 

Run  right  forefinger  down  nose. 

Show  nose  by  placing  the  thumb 
between   first  and  second  finger. 


The  showing  of  the  nose  is  done  quickly  and  is  the  signal  for  all  to  kneel.  The  black- 
bird in  the  centre  then  rushes  forward  and  tries  to  tag  someone  before  he  can  kneel. 
Should  he  succeed,  the  one  tagged  takes  his  place  in  the  centre,  otherwise  the  game  begins 
again  with  the  same  blackbird  and  is  played  as  before. 


RHYTHMIC  ACTION  PLAYS   AND   DANCES 
THE    PANt  AKP:    max 


31 


Irene  E.  Phillips  Moses 

^lavcli  time 

Mae  Rehberg  Scheuerman 

'  y  \  1     s. 

r.             K.            \            '-^ 

m         P         \           m 

_y«L^4 ^ 

r           V 

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F 

P 

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-.(S 

'W-H-^— 

J ^ ^ '- 

:=^ 

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— y !.< K b^ 

|i 


When  moth  -  er    takes    us      down  -  town,  We 

— > N PS 


es    us      down  -  town,  We      al  -  ways     it        we      can, 


Pass   the  lunch-room  win  -  dow,  With  its  white-capped  pancake  man.    Oh!   see  him 
Christina  Rossetti  Eleanor  Smith 


H 


::1^ 


1: 


■j:t 


*mix       a      pan  -  cake,    Stir       a      pan  -  cake,  Drop      it 


m 


the 


pan; 


Try     the     pan  -  cake,  toss      the     pan  -  cake.  Catch     it         if      you     can. 


*  From  "  A  Primer  of  Vocal  Music  "  by  Eleanor  Smith,  printed  by  permission  of  Silver, 

BURDETT  AND  COMPA^n[■. 


Formation. — A  single  circle  facing  in  line  of  direction. 

When  mother  takes  us  down-town, 

We  alwatjs  if  we  can, 

Pass  the  lunch-room  window. 

With  its  white-capped  pancake  man. 

Oh!  see  him 

mix  a  pancake. 


March  forward  around  circle  in 
line  of  direction. 


Halt  and  face  centre  of  circle. 

Roll  right  hand  forward  and 
down  over  left,  circling  away 
from  body  (twice). 


stir  a  pancake, 


Roll  left  hand  over  right  and  up- 
ward toward  body  (twice). 


32 


RHYTHMIC  ACTION   PLAYS  AND   DANCES 


Drop  it 


in  the 


Clap  thighs  in  front. 


Clap  hands  waist  high. 


pan; 


Try  the  pancake, 


Clap  thighs  in  front. 


Place  palms  of  hands  together  and  raise  hands 
on  level  with  mouth,  the  back  of  right  hand 
facing  upward.  The  right  hand  represents 
the  pancake,  the  left  hand  the  pan.  Slowly 
raise  the  wrist  of  the  right  hand,  keeping  the 
tips  of  fingers  together,  then  peep  under  hand 
to  see  if  underside  of  pancake  is  done. 


toss  the  pancake. 


Separate  hands,  turn  palms  upward  and  make 
movement  as  if  tossing  a  pancake  high  above 
the  head. 


catch  it 


if  you  can. 


Clap  hands. 


Drop  hands  at  sides. 


RHYTHMIC  ACTION   PLAYS  AND  DANCES 

THE   TIN    SOLDIERS* 

W.  H.  Neidlinger 


33 


■4^ 


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See      my      sol  -  diers     all       so      fine;      Ta 


y^iiz 


^ 


P 


•    ml 


:i=t: 


:^=^: 


5 


:i=t 


cres. 


P- 


4^-#- 


it: 


keep      in     time;         For- ward, march;        f or  -  ward     all!     Ta-ra,      ta-ra,       ta 


=J^=A- 


--r 


=t 


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:^; 


:^=: 


-**- 


■M ^ ^ 


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i 


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^f= 


3^i^^=4: 


-^— ^ — *- 


*  Printed  by  permission  of  G.  Schirmer,  3  East  43d  St.,  New  York  City. 


■i9- 


34 


RHYTHMIC  ACTION   PLAYS  AND   DANCES 


i^ — ^- 


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ra, 


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ta  -  ra,        ta  -   ra, 


-si- 


Now   we're      on        pa    -    rade; 


i 


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m 


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# 

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a 


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->  — 


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ra,     ta  -  ra,       ta  -  ra,      ta  -  ra,     ta  -  ra!  Now    we're    on       pa  -  rade! 


X 


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-(5>- 


S 


I 


is: 


I 


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r 


This  music  has  been  included  because  it  is  an  excellent  march  with  an  appropriate 
theme.  The  first  marching  may  be  either  in  single  file  or  in  couples  as  the  teacher  may- 
desire.  No  attempt  has  been  made  here  to  write  out  the  many  simple  marching  evolu- 
tions in  common  use  in  little  children's  classes,  for  each  teacher  has  her  favorite  fancy 
marches  which  are  best  adapted  to  the  size  and  shape  of  her  floor. 

Measures  1-8  may  be  used  for  marking  time.  Measures  9-18  for  marching  in  any 
desired  direction. 


CHAPTER   II 

Sliding. — This  series  of  progressions  in  many  ways  furnishes  the  most  valuable  training  of 
any  group  in  the  book,  for  sliding  is  one  of  the  most  basic  elements  of  dancing.  It  is  hardly 
possible  to  lay  too  much  stress  upon  its  importance  as  a  preparation  for  future  work  and  its 
relation  to  the  rhythmic  motor  education  of  the  child.  Children  show  great  individual  differ- 
ences in  skill  in  this  movement,  some  can  slide  gracefully,  lightly  and  naturally,  and  others 
exhibit  almost  a  total  inability  to  slide  without  special  instruction.  Classes  are  often  disap- 
pointingly slow  in  learning  to  slide;  but  let  the  teacher  feel  assured  that  her  patience  will  be 
well  rewarded  when  the  ability  is  at  last  acquired,  for  when  a  class  has  learned  to  slide  with 
good  knee  action  to  the  various  tempi  and  use  the  feet  alternately  in  series  of  slides,  a  mile- 
stone in  their  rhythmic  education  has  been  passed  and  because  of  the  good  foundation  which 
has  thus  been  laid  all  future  progress  will  be  correspondingly  rapid. 

The  sliding  in  this  group  does  not  involve  the  alternate  use  of  the  feet  when  sliding 
in  any  given  direction.  The  sliding  in  the.se  Action  Plays  is  in  the  three  directions,  side- 
ways, forward  and  backward,  with  the  same  foot  leading  throughout  the  slide  in  any 
direction.  Chapter  VIII  deals  with  the  subject  of  sliding  in  the  different  directions  when 
the  feet  are  alternated.  However,  it  will  be  seen  that  the  first  rhythm  in  this  group 
("Playing  Train")  involves  the  alternate  use  of  the  feet.  This  movement  can  hardly  be 
styled  as  the  alternate  use  of  the  feet  while  sliding,  for  the  movement  is  rather  a  scuff  of 
the  feet  while  walking,  and  is  here  inserted  to  serve  as  a  transition  from  the  marching  in 
the  preceding  group.  The  skating  rhythm  in  the  second  Action  Play  ("Santa  Claus  and 
the  Christmas  Tree")  is  also  one  single  movement  of  the  feet  and  does  not  necessitate 
the  alternate  use  of  the  feet  in  series  of  two  or  more  slides  as  is  meant  by  the  use  of  the 
word  "shding"  in  Chapter  VIII.  The  .shding  in  this  group  is  "walked"  in  "Peter  Pan" 
(as  the  "follow  step").  In  this  instance  it  is  really  easier  for  children  to  "dance"  the 
step  before  they  "walk"  it  and  therefore  the  series  is  started  with  sliding.  The  order  here 
for  teaching  should  be,  first  sliding  sideways,  then  forward  and  finally  backward.  It  will 
be  seen  that  the  first  games  have  quite  a  number  of  slides  in  one  direction;  this  is  because 
when  a  new  movement  is  being  acquired  it  is  easier  to  repeat  it  overjand  over  without 
stopping.  After  the  children  have  learned  to  slide  in  the  three  directions,  they  maj''  be 
taught  to  circle  in  place  as  in  "Pussy  Cat,  Pussy  Cat."  When  it  is  said  "the  children 
should  have  good  knee  action  in  sliding"  it  is  not  intended  that  the  knee  should  be  bent 
without  reference  to  the  action  of  the  step.  Nothing  in  dancing  is  more  artificial  than 
knee  action  which  is  not  well  co-ordinated  with  the  movement.  This  incorrect  use  of 
the  knees  may  often  be  observed  in  people  who  are  inclined  to  be  stiff  and  who  adopt  a 
springy,  mincing  walk  to  overcome  the  tendency.  And  yet  when  leaching  the  children  to 
slide,  the  teacher  may  be  excused  if  she  exaggerates  the  knee  action  in  her  effort  to  stimu- 
late the  children  to  bend  the  knee  of  the  active  foot  just  preceding  the  slide  of  the  foot. 
This  example  is  particularly  needed  by  those  children  who  look  like  animated  clothes  pins 
when  they  slide. 


Progression  for  Teaching 

Playing  Train.  To  Market. 

Here  We  Go  on  a  Merry-go-round.  Hickory  Dickory  Dock. 

Santa  Claus  and  the  Christmas  Tree.  Peter  Pan. 

Oh   Where,   Oh   Where   Has  My   Little   Dog  Pussy  Cat,  Pussy  Cat. 

Gone.  Three  Funny  Old  Men. 
Yankee  Doodle  (last  half  of  song,  see  page  86.) 

35 


36  RHYTHMIC  ACTION  PLAYS  AND  DANCES 

PLAYING   TRAIN 

Irene  E.  Phillips  Moses  Mae  Rehberg  Scheuerman 


3 


i 


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:^: 


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Choo-oo,   choo-oo,    choo-oo,    choo-oo.     Chuff  -  a  -  chuff,      chuff 


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chuff. 


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chuff,     chuff    -    a  -  chuff!  Choo-oo,  choo-oo,  choo-oo,  choo-oo. 


:t: 


:t: 


irfeT^"^— T^ — d— 

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Chuff  -  a  -  chuff, 

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4        ~          S 
chuff  -   a  -  chuff. 

chuff   -  a  -  chuff, 

[--iff — ^f — i!f— 

0                 0 
chuff  -  a  -  chuff! 

— ^ — if^ — ^^ , 

BJ 


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Choo-oo,  choo-oo,  choo-oo,  choo-oo.     Chuff  -    a  -    chuff,    chuff  -    a  -    chuff, 


-¥- 


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RHYTHMIC  ACTION  PLAYS  AND   DANCES 


37 


—I H ^\ -A 


i 


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95 


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^ 


chuff    -    a   -    chuff,      chuff  -    a  -  chuff!   Choo-oo,  choo-oo,  choo-oo,    choo- 

_f- tl^ f: f-__i!^ ♦ 


00. 


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Chuff-a-chuff,chuff-a-chuff,chuff-a-chuff,chuff-a-chuff!  Choc- oo  -    oo   -  oo  -  oo. 


i 


Formation. — A  single  Hne  or  circle  facing  in  line  of    direction  with    the    hands    upon 
the  hips. 


Chuff-a-chuff,  etc. 


>■■    '>:aA.  LaiU  ->->..::.... '/? 


Choo-oo,  etc. 


Slightly  bend  the  knees,  scuff  the  right  foot 
forward,  keeping  heel  near  the  floor  and  re- 
peat same  with  left  foot. 


Pout  lips,   keep  teeth  closed,   while  a  long, 
slow  breath  is  exhaled  through  the  teeth. 


Continue  alternating  to  end  of  music,  eight  scuffs  followed  by  four  long  breaths, 
which  is  supposed  to  represent  a  yard  engine  which  starts  to  move,  then  stops  and  lets 
off  steam.  For  variety  the  engine  may  back  at  times.  This  is  a  good  breathing  exercise 
and  furnishes  a  good  training  for  four  and  eight  part  repeated  action.  It  also  gives  valu- 
able training  in  acquiring  skill  in  the  alternate  use  of  the  feet  in  sliding. 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 
HERE   WE   GO    ON   A   MERRY-GO-ROUND 


Irene  E.  Phillips  Moses 
Lively 


American 


=3^ 


-A— r-N- 


Here       we       go      on       a      mer  -  ry  -  go  -  round,         mer  -  ry   -  go  -round, 

-#■  ••■  -m-  ■»■  —m- 

. — p 1 p — If 1 p_ 


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mer  -  ry  -  go-round.       Here     we      go     on      a      mer  -  ry  -  go-round,  on     a 


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ny.   This     is      the    way     we    start     to    move, 


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start      to      move. 


start       to     move. 


This       is        the      way       we 


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start       to      move,       on       a 


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s 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 


39 


Formation. — A  single  circle  facing  inward  and  clasping  hands. 


1.  Here  we  go  on  a  merry-go-round, 
merry-go-round,  merry-go-round. 
Here  we  go  on  a  merry-go-round 
on  a  lion  or  a  pony. 


2.  This  is  the  way  we  start 

to  move,  start  to  move,  start  to  move. 

This  is  the  way  we  start 

to  move  on  a  lion  or  a 

pony. 


\i» 


3.  This  is  the  way  we  hurry  up, 
hurry  up,  hurry  up. 
This  is  the  way  we  hurry  up 
on  a  lion  or  a  pony. 


4-  This  is  the  way  we  snatch  a  ring, 
snatch  a  ring,  snatch  a  ring. 
This  is  the  way  we  snatch  a  ring  on 
a  lion  or  a  pony. 


All  slide  sideways  right,  around 
circle. 


Place  right  foot  forward,  alter- 
nately sway  the  weight  to  right 
and  left  foot,  pointing  the  toe 
of  the  opposite  foot.  Hold 
arms  bent  as  if  holding  reins. 


Maintaining  the  same  position 
of  the  feet,  leap  forward  on  the 
right  foot,  raising  the  left  leg 
backward;  leap  backward  on 
the  left  foot  and  raise  right 
foot  forward.  Continue  alter- 
nately leaping  forward  and 
backward.  The  music  should 
be  played  a  little  faster  for 
this  verse. 


Reach  diagonally  upward  with 
right  hand  and  in  time  to  the 
music,  snatch  an  imaginary 
ring  with  the  index  finger 
crooked. 


40 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 
SANTA   CLAUS   AND   THE    CHRISTMAS   TREE 


I 

1 


Irene  E.  Phillips  Moses 


^ 


>-fc/-V- 


Mae  Rehbbrg  Scheuerman 

-N — ^ — \— N— 


-p—p-»~ 


d — -H 


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4 


fcit 


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Tinkle,tinkle,sleigh  bells,Santa  Claus  I  hear;  Hip,hip,hip,hurrah,hail  him  with  a  cheer, 

«-i » ^ » — t P 1 — »-  -PL 


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As  down  the  chimney  he  quick-ly  shdes,And    out  of  the  fireplace  he  jumps  and  cries, Oh ! 


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see      the  shin  -  ing  Christmas  tree  and  all   the  nice  chil-dren  a  -  wait  -  ing  me. 


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Then  off    the  tree  he   takes    a    toy    to  give    to   some  lit-  tie  girl     or    boy,  But 


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first  you  must  guess  what  it    can  be  that  San-ta    has    tak-en  from  off    the  tree. 


± 


? 


^^ 


RHYTHMIC  ACTION   PLAYS  AND   DANCES 


41 


Formation. — A  single  circle  facing  centre,  hands  clasped  in  circle.  Some  object  in  the 
centre  of  the  circle  to  represent  a  Christmas  tree.  One  of  the  children  in  the  circle  is 
chosen  to  represent  Santa  Claus. 


Tinkle,  tinkle,  sleigh  bells, 
Santa  Claus  I  hear; 
Hip,  hip,  hip,  hurrah, 
hail  him  with  a  cheer, 

As  down  the  chimney  he  quickly  slides. 

And  out  of  the  fireplace  he  jumps  and 
cries, 

Oh!  see  the  shining  Christmas  tree  and 
all  the  nice  children  awaiting  me. 

Then  off  the  tree  he  takes  a  toy  to 
give  to  some  little  girl  or  boy. 


All  slide  to  right  around  circle. 


Santa  Claus  steps  back  out  of  the  circle  and 
slides  around  circle  to  the  left. 

Santa  Claus  enters  the  circle  with  a  jump  and 
runs  to  the  centre. 

Santa  Claus  points  to  the  tree  and  then  to 
the  children. 

Santa  Claus  thinks  of  some  toy,  then  he  goes 
up  to  tree  and  pretends  to  take  off  a  toy. 

Santa  Claus  pretends  he  has  a  toy  in  his  hands 
which  he  holds  behind  him.  He  goes  up  to 
some  child  in  the  circle  who  must  guess  what 
toy  Santa  pretends  he  has  behind  him.  Should 
the  child  he  approaches  guess  incorrectly,  he 
goes  to  other  children  until  he  finds  one  who 
guesses  correctly. 

The  children  all  act  out  the  toy  which  Santa 
selected,  inserting  in  the  verse  the  name  of 
the  child  who  guessed  correctly  and  the  toy 
guessed. 

The  game  may  be  repeated  as  many  times  as  desired,  the  one  who  successfully  guesses 
the  selected  toy  becomes  Santa  Claus  for  the  next  repetition  of  the  game. 

Suggestions  for  toys:  a  doll  to  rock,  a  piano  to  play,  a  horn  to  blow,  a  wheel  to  ride,  a  cradle 
to  rock,  blocks  to  build,  some  roller  skates,  some  nice  ice  skates. 

Also  see  suggestions  for  "The  Christmas  Ships,"  page  98. 


But  first  you  mxisl  guess  what  it  can 
be  that  Santa  has  taken  from  off  the  tree. 


Oh!  (Harry)  has  a  sleigh  to  pull,  etc. 


42  RHYTHMIC  ACTION  PLAYS  AND  DANCES 

OH    WHERE,  OH    WHERE    IS    MY    LITTLE   DOG    GONE? 

Nursery  Rhyme  Old  Tune 


1 


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Oh  where,  oh  where  is  my  ht-tle  dog  gone,Oh  where,oh  where  can  he  be? 


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ears     cutshort.andhis  tail       cut  long,     Oh  where,      oh    where  is    he? 


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A  single  circle  is  formed  facing  inward  with  the  hands  clasped. 
One  of  the  players,  the  master,  is  in  the  centre  of  the  circle.  The 
circle  moves  around  in  line  of  direction,  that  is,  the  players  slide 
sideways  right.  The  master  skips  around  the  circle  in  the  opposite 
direction,  holding  his  hand  to  his  forehead  and  looking  from  side  to 
side  as  if  to  find  his  dog.  At  the  end  of  the  verse  the  circle  halts 
on  the  last  "be"  and  raises  the  clasped  hands  high.  The  master 
also  halts  at  the  same  moment  and  the  one  before  whom  he  stops  is 
the  little  dog.  The  little  dog  immediately  turns  and  runs  away 
around  the  circle,  or  in  and  out  under  the  clasped  hands.  Wher- 
ever the  dog  goes,  the  master  must  follow  the  same  path  in  his 
efforts  to  catch  him.  After  he  has  caught  the  dog  the  master  may 
join  the  circle  and  the  dog  becomes  the  master,  when  the  game  begins  anew.  Should  the 
master  fail  to  catch  the  dog,  after  a  reasonable  chase,  the  dog  may  resume  his  former  place 
in  the  circle  and  the  game  may  begin  again  as  before  with  the  same  master. 


This  game  helps  to  encourage  the  children  to  slide  quickly  and  lightly  and  not  drag, 
as  they  are  liable  to  do  at  first,  for  all  the  children  desire  to  hurry  past  the  master  so 
that  he  will  not  stop  in  front  of  them. 


RHYTHMIC    ACTION   PLAYS   AND   DANCES 
TO   MARKET 


43 


Mother  Goose 
Moderato 


Irish  Jig 


-^^ 


— ^- 


#=f=:^i 


-«?— 


To 


mar  -   ket, 


to 


mar   -  ket,        to      buy 


fat 


m 


pig, 


-^- 


3=£ 


V 


p^= 


-A— d- 


-N- 


Home    a-gain,home  a  -  gain,  jig- gi  -  ty    jig.     To    mar- ket,   to    mar -ket,  to 


^i: 


9il 


— I — 
— »- 


I 


—7— 


I 


Ie£ 


^^^^ 


^=f 


buy     a     fat      hog, 
a ^— 


Home  a    -  gain,  home    a   -   gain,   jog  -  gi  -  ty    jog 

■a N 


"C — t 


^F= 


ppl 


Formation. — A  single  circle  facing  centre  and  all  clasp  hands  in  circle. 


1 .  To  market,  to  market, 
to  buy  a  fat  pig, 

2.  Home  again,  home  again, 
jiggity  jig. 

3.  To  market,  to  market, 
to  buy  a  fat  hog, 

4.  Home  again,  home  again, 
joggity  jog. 


1.  All   slide  in    four  slides  toward  centre,  right 
foot  leading  forward. 

2.  Four  slides  out,  left  foot  leading  backward. 

3.  Same  as  1. 

4.  Same  as  2. 


44  RHYTHMIC  ACTION  PLAYS  AND   DANCES 

HICKORY,  DICKORY,  DOCK 

Mother  Goose  Mae  Rehberg  Scheuerman 


mi 


^ — ^ — N- 


fr — N N N- 


ES3_3 


-m — 0- 
-m 


-^~f~ 


V 1 


^ifefi 


Hick-o  -  ry,  Dick  -  o  -  ry,     Dock,    .    The  mouse  ran    up      the  clock;        The 

■»■'■*■+-  *■'  ■«■ 
1 \- m- 


ffi 


r- 


-d—^ 


-b^- 


^^= 


-N— HS N- 


^1 


-» •- 


-li * 


:^z=i^ 


:i^^zi^_ 


clock  struck  one    and  down     he    run,       Hick  -  o  -  ry,  Dick  -  o  -   ry.     Dock. 


m 


^ 


p — •- 


-0 — ^ 


-I e 


--f^-^ 


\- 1- 


V k 


« — F- 


•-— ^- 


Formation. — In  a  single  circle  facing  inward. 


Hickory,  Dickory,  Dock, 
The  motise  ran  up  the  dock; 

The  clock  struck 

one 

and  down  he  run. 

Hickory,  Dickory,  Dock. 


Stamp  three  times  (left,  right,  left). 

Slide  in  toward  centre  of  circle,   right  foot 
leading. 

Slowly  raise  hands  forward  chin  high. 

Clap  once. 

Slide  backward,  left  foot  leading. 

Stamp  three  times  (right,  left,  right). 


RHYTHMIC   ACTION   PLAYS  AND   DANCES 


45 


PETER    PAN 


Irene  E.  Phillips  Moses 
Moderato  ^ 


J.   PlERPONT 


accel. 


^W^V— ^-H P^--^ — I — r-P' — ^"^ — R. S-l—r-r-'- — ^^ — ^"^ — ^-^'^— ^H^— ^-^n 


1.  Pe-terPan!  Pe-ter  Pan  ISewed  his  shadow  on,      Oh !  then  he  was  so  ver  -  y  glad  to 

2.  Tin- ker  Bell!  Tinker  Bell!  Tin-kle    all    the  day,   Oh!  what  fun  it   is    to  have  a    . 


have  it     fol-low      him.      Pe-ter  Pan!   Pe-ter  Pan!  Sewed  his  shad- ow   on, 
fai-ry    lead  the       way.    Tin -ker  Bell!  Tin- ker  Bell!   Tin-kle     all    the  day, 


Oh!    then     he 
Oh!   what    fun 


was    so     ver  -   y     glad    to  have      it       fol  -  low   him. 
it      is       to    have     a  .     .      fai    -   ry     lead    the    way. 


^       4L       ^ 


:N=ti= 


:St=fe=:te 


M- 


ill 


-r-^ 


Formation. — Double   circle   facing  inward,   inside  circle   clasping   hands,   outside  circle 
with  hands  upon  the  shoulders  of  the  one  in  front. 


46  RHYTHMIC  ACTION  PLAYS  AND   DANCES 

Figure  I. 

Peter  Pan !  Peter  Pan !  Follow  step   sideways  right.      That  is,  step 

Sewed  his  shadow  on,  sideways  right,  bring  the  left  heel  up  to  the 

right  and  repeat,  moving  to  right  around  circle. 

Oh !  then  he  was  so  very  glad  Quickly  slide  sideways  around  circle  moving 

to  have  it  follow  him.  to  the  right. 

Repeat,  figure  moving  to  the  left. 

Figure  II. 

Tinker  Bell!  Tinker  Bell!  Face  in  line  of  direction,  form  a  single  circle 

Tinkle  all  the  day,  and  march  forward. 

Oh!  what  fun  it  is  to  have  Run  forward  around  circle  in  line  of  direction. 

a  fairy  lead  the  way. 

About  face  and  repeat  figure,  moving  in  the  opposite  direction. 


RHYTHMIC   ACTION   PLAYS   AND   DANCES 
PUSSY    CAT,   PUSSY    CAT 


Mother  Goose 
Allegro 


J.  W.  ElXIOTT 


:^fr 


Pus  -  sy    cat,   pus  -  sy   cat,where  have  you  been?  I've  been   to  Lon-don  to 


s 


H 1 s 1 1 a 1 i a 1 1 


3=?^ 


-«-    «- 


:d=i 


9si 


-^ — ^ 


-7 — *?- 


-^-- 


-*? — ^- 


5 


-*?—*?- 


:^ 


-^—^—*?—^— '?—?-— 


-:t- 


i 


A — ^- 


^     P 


-Ps — ^ — N- 


H 1 1- 


> N- 


-^- ^ 


-S *- 


-^ * 


^^ 


-0 ^- 


H H 


-y — 


vis  -  it     the  Queen.  Pus  -  sy    cat,  pus-sy    cat,  what    did    you  there?   I 


/T\ 


^^^ 


-m m- 

-m — «- 


:^=i^: 


■«•    ■•■  -»     ♦     a- 


ii 


^ 


j         f         »* "J *f 


-4- 


:^=! 


-4- 


*  =2=5=^=5=2: 


-*? — ^— i 


-4- 


Quicker 


:t 


ores. 


t? 


-H^ ^- 


:t-: 


H^-'f— *?• 


1 


fright  -  en'd        a  lit    -     tie      mouse       un  -     der        her     chair. 


^=eH 


:?= 


:t 


:=4 


/? 


cre». 


t' 


^^^^^ 


-t^ 


-4- 


^— I ii Zr- 


;b 


48 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 


Formation. — A  double  circle,  partners  facing,  No.  I's  in  inside  circle.  No.  II's  in  outside 


circle. 


No.  I. 
Pussy  cat, 

Tpussy  cat, 


Stamp  right  foot,  stamp  left  foot  and  clap. 
Repeat. 


Where  have  you  been? 


Place  the  right  elbow  on  the  back  of  the 
left  hand  and  shake  right  forefinger 
four  times  by  rotating  the  wrist. 


No.  II. 
I've  been  to  London  to 
visit  the  Queen. 


Curtsy. 


miiMi 

No.  I. 

Pussy  cat. 

Same  as  above. 

pussy  cat, 

Same  as  above. 

What  did  you  there? 

Shake  finger  same  as  above, 

No.  I  and  II. 

/  frightened  a  little  mouse 
under  her  chair. 


No's.  I  and  II  clasp  hands  and  slide  around  in 
place,  circling  to  the  right. 


The  whole  is  repeated  with  No.  II  asking  the  question  and  No.  I  curtsying. 


mp 


RHYTHMIC  ACTION   PLAYS  AND    DANCES 

THREE   FUNNY   OLD    MEN* 

W.  H.  Neidlinger 
cre». 


49 


-A- 


— N- 


^^^ 


• — p 


I 


^ — m- 

Three   fun  -  ny    old    men    from     our         town  Went   out       for      a    walk    one 


+ 


^ 


—I ^ • "1- 


iK 


-•-. — •— 


E^^^^^= 


PS 


f 


ii^=?^ 


-iS'- 


4: 


r — r 


^c=f^=te 


:^ 


f; 


dim. 


i 


:i 


it 


-fS"- 


-f== 


tr- 


-\ 1- 


-V ^ — 

day,       The    wind     blew     so    strong    that   they    turn   -   ed 

--I 4^=1 


a  -  bout,      And 


j^i.- 


r 


-• — •- 


■^ 


dim. 


T 


gt^ 


-&- 


'^- 


I 


=t 


IB 


*-"-^^ 


walked    the    oth  -  er        way,     .     .  And  walked  the  oth  -  er     way. 

X 


?r-* 


-^-i- 


-»- 


i 


wmm 


:J— J: 


^c=pt: 


• — ^ 


i=J 


i^ 


-&- 


T 


.(2_ 


I  I 


r- 


r 


-^ 


Printed  by  permission  of  G.  Schirmer,  3  East  43d  St.,  New  York  City. 


50 


RHYTHMIC   ACTION   PLAYS   AND   DANCES 


Formation. — In  groups  of  three   facing  in  line  of  direction.     The  two  on  the  outside 
clasp  their  inside  hands  with  the  one  in  the  middle. 


Three  funny  old  men  from  our  town 
Went  out  for  a  walk  one  day, 


Walk  forward. 


The  wind  blew  so  strong  that  they 
turned  about, 


Clasp   hands   in    circles   of   three   and    slide 
around  in  place  once  and  a  half  to  the  right. 


And  walked  the  other  way. 
And  walked  the  other  way. 


Drop  outside  hands  and  walk  in  opposite  di- 
rection. 


CHAPTER   III 

Knee,  Hip  and  Ankle  Action. — Graceful  dancing  requires  that  proper  use  be  made  of  the 

knee  joint  supplemented  by  well  co-ordinated  ankle  and  hip  action.  Special  attention  should 
be  directed  early  toward  stimulating  good  knee  action.  In  dancing,  the  knees  have  the  same 
relative  function  as  the  springs  of  a  carriage;  that  is,  they  should  absorb  all  jar.  Much  of 
the  fatigue  attendant  upon  precipitant  action  is  due  to  the  shock  of  the  blow,  when  the  foot 
strikes  the  floor,  being  communicated  to  the  spine  and  head  through  a  stiff  leg.  In  stamping, 
which  is  one  of  the  simplest  and  most  natural  ways  of  accenting  rhythm,  the  knee  action  is 
particularly  important.  Stamping  is  not  only  an  ungraceful  action,  but  positively  injurious 
unless  it  is  done  properly.  In  fact,  stamping  in  dancing  is  little  more  than  a  slap  of  the  floor 
with  the  foot  which  makes  a  loud  noise.  If  the  knee  is  first  bent  and  raised  high,  a  loud 
stamp  may  easily  be  made  without  interfering  with  the  good  carriage  or  disturbing  the 
equilibrium  and  poise. 

The  progressions  in  this  group  are  so  simple  and  the  grading  so  obvious  that  a  dis- 
cussion of  their  teaching  is  unnecessary.  When  they  are  taught,  the  Action  Plays  will 
be  found  to  lead  into  each  other  quite  naturally. 

Progression  For  Teaching. 
The  Stork.  The  Motorman. 

See-saw  No.  I.  Cock-a-doodle-doo. 

Goosey,  Goosey  Gander.  The  Man  in  the  Moon. 

Diddle,  Diddle  Dumpling.  Bobby  Shafto. 

Walking  on  Stilts. 


THE   STORK 


Irene  E.  Phillips  Moses 
Quickly 


Wl 


4 


:?: 


Mae  Rehberg  Scheuerman 


Sifeai-iE 


-y V- 


'Xr 


The  stork   he      is 


^ 


fn=± 


N— b^.- 


-n^ 


fun  -  ny    bird ;  I've    of  -  ten  heard  it    said,When 
at  2i  #  * 


^ 


"^L^      • 

f^- 

1 

hW—z — I — ^ 

-g — ^—z—^ — z- 

~? — f — z — z — r^ 

— r— 

\y         /       ^       / 

he      gets    tired 

n-  1  1  > 

-^ ^ — V — V— 

he     does    not     go     and 

••• 
w 1 

put     him-  self      to     bed, 

-rT — -- rr -f— 

But 

^-^>-r 

p: 

4 if *- 



1^1/1                                 1 

— ^ 4-                                   1 

51 


52 


RHYTHMIC   ACTION  PLAYS  AND   DANCES 


N \- 


—J K^ ■/ / / ^ 5 • •- 


-^— -^ — 5—^ — 1»- 


'^s. 


J:= 


i:: 


:t: 


:t: 


stands  up  -    on      the    oth  -  er    foot   and   holds   his    toes     up      so,        Un 

*  ♦  "S^  "^  ^ ■ _♦ 


--^^-^w^'^ 


t^=J'-=^-=i=S 


'"^^E 


— »: — N — ^ — y- 


•— ^ 


-^ — • 


-t^ 


SB 


±12 


til    he  wants  to  stretch  his  wings.then  far         a 


^a^ 


-i?f 


?: 


way  he'll    go. 


U^ 


fe^feU 


I 


-• — •- 


ife^ESEE 


#— ?- 


■• — •- 


Flying 


e=FJ^- 


=«^i 


-A A !._ 


n-P^m-» 


#-# 


.t=: 


9S|fe^ 


■X 


f=p= 


-P       P       h 


-•— •- 


-• •- 


:^=:^tt=t: 


-SI- 


;i^ 


a^m^ 


=?;S:^: 


1 


-»- 


-  — p_ 


"f== 


;b 


Formation. — A  single  circle  standing  facing  the  centre  with  the  hands  clasped. 


The  stork  he  is  a  funny  bird; 
I've  often  heard  it  said, 
When  he  gets  tired  he  does  not  go 
and  put  himself  to  bed, 


But  stands  upon  the  other  foot 
and  holds  his  toes  up  so. 


Stand  on  one  foot  and  flex  the 
other  knee,  drawing  foot  up  well 
toward  thigh. 


Change  and  stand  on  other  foot. 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 


53 


Until  he  wants  to  stretch  his  wings 
then  far  away  he'll  go. 

Flying  music. 


Still  standing  on  one  foot  let  go  of  hands  and  slowly 
stretch  arms  sideways  as  if  stretching  wings. 

Face  in  line  of  direction,  run  around  the  circle  moving 
arms  up  and  down  with  the  music  to  imitate  flying. 


This  may  be  given  as  one  of  the  first  rhythms,  but  in  that  case  the  teacher  may  sing 
the  song  as  the  children  act  it  out.  Also,  no  particular  attention  should  be  paid  to  the 
children's  running  in  time  to  the  music,  as  running  to  music  is  always  hard,  for  at  least 
a  part  of  the  class,  and  drill  in  acquiring  the  ability  to  run  with  a  particular  rhythm 
may  well  be  left  until  farther  along  in  the  course. 


THE   SEE-SAW,  No.   I 

For  miisic,  see  page  92,  Part  I 

Formation. — A  single  circle,  partners  standing  facing  with  sides  to  centre  of  circle  and 
clasping  each  other's  hands. 


See- 


Partner  facing  in  line  of  direction 
bend  knees  and  squat  down  to 
imitate  low  end  of  see-saw. 


saw, 


Partner  facing  clockwise  bends 
knees  and  partner  facing  in  line 
of  direction  at  the  same  time 
straightens  knees  and  stands  up. 


Continue  alternating  as  abov^e  described  to  the  end  of  music. 


54 


RHYTHMIC  ACTION  PLAYS  AND    DANCES 
GOOSEY,  GOOSEY,  GANDER 


Mother  Goose 


Swedish 


a 


gi: 


H-5 P- 


i 


■^- 


i 


--^- 


Goo  -  sey,  Goo  -  sey,  Gan 


der, 


ifeS 


^i^J^^EE^^^ 


whith  -  er  shall     I 


wan 


der, 


-t 


^^ 


-I — 


3 


&^=!^ 


m 


li 


Up     the     stairs    or     down   the  stairs,    or 


in 


the     la  -  dy's   cham  -  ber  ? 


:t=:t: 


-1 — 


3»»=a«? 


£^ 


B 
^1 


i=i=i=^ 


^f 


— I- 


t---t==E==t=t 


:1=1=^=P3 


H h- 


H 1- 


■L^ — ^   ^ 


-^ 


—\ — 

— •- 


The  children  form  in  a  straight  line,  facing  in  line  of  direction.  They  all  stand  still 
while  they  sing  "Goosey,  Goosey  Gander,  whither  shall  I  wander?  Up  the  stairs,  or  down 
the  stairs,  or  in  the  lady's  chamber?"  except  the  one  at  the  foot  of  the  line  who  runs 
forward  and  takes  his  place  at  the  head  of  the  line  as  leader.  He  answers  their  question 
by  choosing  one  of  the  three.  Should  he  say  "upstairs"  the  line  moves  forward,  raising 
the  knees  waist  high  at  each  step.  Should  he  say  "downstairs"  the  children  all  squat 
down  and  walk  forward  with  bent  knees.  Should  he  say  "in  the  lady's  chamber"  they 
walk  forward  on  tip  toes  very  quietly,  so  as  not  to  wake  the  lady  who  is  supposed  to  be 
asleep. 

Each  child  is  leader  for  only  one  exercise. 

This  game  strengthens  the  legs  and  forces  exaggerated  knee  action.  Because  it  is  a 
strong  leg  movement  its  effects  will  be  to  slow  down  the  heart  beat  and  draw  the  blood 
into  the  large  muscles  of  the  legs,  which  makes  the  game  of  value  in  quieting  the  cla.ss 
after  violent  exercise.  The  walking  quietly  on  tip  toes  should  encourage  the  children  to 
step  lightly,  which  many  children  find  hard  to  do. 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 
DIDDLE.   DIDDLE    DUMPLING* 


i 


Mother  Goose 

N 


GEt^ 


=t=p:l=;: 


-w — [ 


u- 


id #- 


-4 


Ethel  Crowninshield 


1^ 


• — •- 


::1^^ 


• — ^- 


Diddle,  diddle  dumpling.my   son  John    Went    to  bed  with  his  stockings  on ; 

4--^ r—. 


:eE?E? 


:t 


-tZZBI 


-• 0- 


■0 — ^- 


Mbi 


-m-w- 


P=^^ 


f-^^ 


^izN- 


f-tir  N ^-B 


ii 


One  shoe   off    and  one  shoe   on,         Did-dle,  did-dle  dump-ling,  my    son  John. 


'^=:t 


It: 


^■^- 


:1— 1— 1- 


•— ^ 


:i 


-^ — • 


gi=E=E_= 


* 


il 


;f= 


-• 0- 


Formation. — A  single  circle  facing  inward. 


Diddle,  diddle  dumpling. 


Run    in    place    raising    knees    forward 
waist  high. 


*  From  "  Mother  Goose  Songs"  by  Ethel  Crowninshield,  printed  by  permission  of  Milton  Bradley  CoNfPA>fY, 
Springfield,  Mass. 


56 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 
my  son  John  Three  stamps  (right,  left,  right). 


Went  to  bed  with  his 


Run  in  place. 


stockings  on; 
One  shoe  off 


Three  stamps. 


Raise  right  knee  high,  as  if  showing  right  shoe. 


and 


one  shoe  on, 


Raise  left  knee  high,  as  if  showing  left  shoe. 


Diddle,  diddle  dumpling, 


Run  in  place. 


my  son  John. 


Three  stamps. 


This  rhythm  furnishes  valuable  drill  in  knee  action,  and  is  designed  to  stimulate  the 
use  of  the  knee  in  stamping.  The  preparatory  run  "Diddle,  diddle  dumpling"  before 
the  stamps  "my  son  John"  makes  this  use  of  the  knee  almost  inevitable  without  conscious 
effort  in  that  direction  on  the  part  of  the  child.  The  change  in  time  for  showing  "One 
shoe  off  and  one  shoe  on"  is  also  an  excellent  drill  in  rhythm. 


Slowhi 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 
WALKING    ON    STILTS 

Mae  Rehberg  Scheuerman 


57 


S 


-t-t-'  •*■  -^  •*•  -^  ^ 


B 


^ — 


:^M 


S^3^ 


^ 


II 


^-^-^ 


±z=^ 


-tr^- 


i 


g 


:a=:^ 


^ 


-±± 


t 


1 


#  ♦ 


te^^S^^f 


3S 


^?=F 


i,^; 


s 


The  children  may  pretend  they  are  walking  on  stilts  by  walking  around  the  room  stiff 
legged,  swinging  the  leg  as  a  whole  from  the  hip.  This  is  a  splendid  exercise  for  the 
back,  as  well  as  stimulating  good  hip  action.  The  teacher  may  secure  the  proper  form  by 
suggesting  that  they  will  fall  off  the  stilts  if  they  bend  the  knees.  This  exercise  is  a  good 
preparation  for  the  "The  Motorman,"  and  the  stiff  legged  runs  in  "Cock-a-doodle-doo" 
and  "The  Man  in  the  Moon."  The  music  should  be  played  very  slowly,  with  a  decided 
accent  on  each  step. 


THE   MOTORMAN 


Irene  E.  Phillips  Moses 

r       It.                                            m                \ 

Mae  Rehberg  Scheuerman 

)  \\* A.                          1 

N 

^    _x        .  _ 

iL  ff    4         •              "f            J              J 

•< 

]■> 

y          Hi' 

^ 

rvi'^'Bi              '         ^           •            ' 

*           m                ^ 

L^_4^| 

• 

•  •         N      i 

d 

Oh! 


Let's     play 


that     we're     the    mo  -  tor  man.      Who 


I 


:^?=^ 


^ 


=1*^ 


it 


5 


-(9- 


taps       his        foot     like    this,         who        taps     his        foot     like      this: 


1. 

\'^\^7A r — ^n — ^~r — p~\ — v~\ — \~a — P'n — ^~n 

rp'^'^4  1  g —  ^^-  -^— — ^1 —  f— ^—  *-^-  "M — * — 

Tip  tap,    tip  tap,    tip  tap,      tip  tap,     tip  tap,    tip  tap,    tip  tap,    tip  tap. 


58 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 


iS^ 


-(^- 


-&- 


fe^=^tlf^^- 


-(2- 


-&- 


X-- 


-f—s—'- 


t 


tip  tap,    tip  tap,     tip  tap,     tip  tap,    tip    tap,    tip    tap,    tip    tap,     tip  tap. 


i 


-# f2- 


-G>- 


X^ 


# &- 


-<©- 


-&' 


V- 


i= 


=F= 


tip  tap,     tip  tap,     tip  tap,     tip    tap,    tip    tap,    tip  tap,     tip    tap,    tip  tap. 


SEEtEJ^^^^ 


^^=t 


V- 


V- 


fes^S 


V- 


Tip  tap,         tip  tap,         tip    tap,         tip    tap,         tip  tap,         tip    tap, 


I 


Se 


-• P- 


y-=i^=F=P=4==p==>=^ 


t 


tip   tap,        tip    tap,         tip    tap,        tip     tap,        tip    tap,        tip    tap, 


:irn— f: 


j=EF=^.z:za^ 


• P- 


i1 


=^- 


tip    tap,         tip    tap,        tip     tap,        tip     tap,        tip     tap,       tip    tap. 


|fe^=^ 


tEF=EEl=:f=-&l 


■K=X 


-Xr- 


^ 


tip     tap,        tip      tap,       tip      tap,        tip      tap,      Tip     tap,      tip      tap. 


P 


-• m- 


t— P ^: 


1=^ 


-« — «- 


i=^ 


Tip     tap,  tip     tap,  tip     tap,  tip     tap,  tip     tap,  tip      tap,  tip    tap,  tip    tap. 


-y— I hr- 


:i=P= 


=^ 


tip     tap,  tip      tap,  tip     tap,  tip    tap,  tip    tap,  tip     tap,  tip    tap,  tip     tap. 


■^ 1 h tr^ b-^ ^^ \j — ^^\ 1 


tip     tap,  tip     tap,  tip     tap,  tip    tap,  tip     tap,  tip     tap,  tip     tap,  tip. 


RHYTHMIC  ACTION  PLAYS  AND    DANCES 


59 


Formation. — The  children   may  stand   in  single   files   so    that   they  can   all    face   the 
teacher  and  see  her  feet. 


Oh!  let's  play  that  we're  the 
motorman, 


Raise  leg  as  a  whole  from  the  floor 
by  raising  hip.  The  knee  should 
be  held  stiff,  same  as  in  "Walking 
on  stilts." 


Who  taps  his  foot  like  this, 


Still  holding  the  heel  from  the  floor, 
extend  the  ankle  and  tap  the  floor 
with  the  ball  of  the  foot. 


who  taps  his  foot  like  this: 


Tip  tap. 


Raise  toe  and  tap  floor  again. 


Tap  floor  twice  in  succession. 


go  RHYTHMIC  ACTION   PLAYS  AND    DANCES 

The  "tap  steps"  are  among  the  most  valuable  exercises  for  young  children.  They 
are  excellent  to  train  the  child  in  the  regular  recurrence  of  rhythmic  sequence,  they  fur- 
nish a  splendid  drill  for  acquiring  control  of  the  legs;  and,  in  fact,  do  wonders  for  young 
children  who  are  nervous  and  lacking  in  self  control.  Care  should  be  taken  not  to  let 
the  tapping  degenerate  :nto  a  "shuffle"  by  permitting  knee  action.  There  are  several 
tempi  which  may  be  used  with  these  steps.  Three  follow,  which  have  proven  successful 
in  teaching  beginners. 

1.  Ringing  the  gong  when  the  car  starts. 

This  is  the  rhythm  with  which  to  start  the  teaching,  as  the  half  note  on  the 
second  tap  gives  the  child  an  interval  for  the  brain  to  send  an  impulse  to  repeat 
the  tip  tap.  The  music  should  be  played  very  slowly  at  first  and  gradually 
increased. 

2.  Ringing  the  gong  when  something  is  on  the  track. 

This  rhythm  is  a  little  more  difficult  than  the  preceding,  as  after  the  second  tap, 
the  foot  is  immediately  raised  instead  of  being  held  on  the  floor  by  the  half  note 
of  the  first  rhythm.  The  rest  at  the  end  of  the  measure  gives  an  interval  for 
the  impulse  to  stimulate  the  repetition. 

3.  The  jingling  of  the  gong  as  the  motorman  rushes  along  over  crossings  with  a  clear 
track  and  no  stops. 

This  rhythm  is  used  after  the  movement  becomes  reflex  and  the  taps  can  follow 
each  other  in  quick  succession. 

In  all  three  of  the  preceding  descriptions,  it  is  intended  that  after  the  right  foot  has 
acquired  the  co-ordination,  the  left  foot  be  used  before  passing  on  to  the  next  rhythm. 

After  these  three  rhythms  have  been  mastered  with  the  right  and  left  foot,  the  chil- 
dren may  abandon  the  analogy  of  the  motorman  and  do  straight  tapping,  that  is,  alternate 
the  use  of  the  feet  by  tapping  twice  right,  then  twice  left.  The  same  music  should  be 
used,  beginning  with  the  first  rhythm  and  passing  on  to  the  others  as  ability  to  do  so  is 
evinced.  The  half  note  in  the  first  rhythm  will  be  as  valuable  to  furnish  an  interval  for 
the  impulse  to  be  sent  to  change  feet,  as  it  was  to  repeat  the  two  taps  with  the  same  foot. 


RHYTHMIC  ACTION   PLAYS  AND  DANCES 
COCK-A-DOODLE-DOO 


GI 


Mother  Goose 
Moderalo 


Traditional  Tune 

accel. 


O-^ 

_^_i^ 


— I- 


;^=^3^ 


•^=^- 

-^~^- 


Cock    -   a  -  doo  -  die  -   doo!     .     My     dame    has     lost      her       shoe,         My 


i=4=?=F?1=? 


-w *f- 


-» # H»; 


— t*'- 


-- V- 


t=^ 


:«=^ 


=^ 


:i 


— F^ !>r  — I — I \ m 


mas  -  ter's  lost     his       fid  -  die    stick  And  don't  know  what      to       do. 


gifcg 


V-- 


J=l=? 


---X 


?=£ 


^^%^ 


Formation.— A  single  circle  facing  in  line  of  direction,  dancers  with  hands  on  hips. 


THE    ROOSTER    STRIDE 


Cock- 


Bend  right  knee  upward 
waist  high. 


62 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 


a-doodle- 


Straighten   knee  straight  for 
ward  slowly. 


dool  Place  right  foot  forward  on  floor  and  raise  left 

heel. 

My  Bend  left  knee. 

dame  has  lost  Straighten  left  knee. 

her  shoe,  Place  left  foot  forward  on  floor  and  raise  right 

heel. 


THE    ROOSTER    RUN 


My  master's  lost  his  fiddle  stick 
And  don't  know  what  to  do. 


Run  forward  on  toes,  beginning  with  right  foot, 
keeping  the  knees  stiff  and  raising  the  foot 
high,  taking  long  steps.  The  arms  may  be 
bent  and  elbows  moved  up  and  down  to  imi- 
tate the  movement  of  wings. 

To  vary  the  monotony  of  the  words  of  the  single  verse,  the  following  verses  may  be  used, 
if  desired,  as  the  dance  is  repeated. 


Cock-a-doodle-doo! 
What  is  my  dame  to  do? 
Till  master  finds  his  fiddle  stick 
She'll  dance  without  her  shoe. 


Cock-a-doodle-doo! 
My  dame  will  dance  with  you, 
While  master  fiddles  his  fiddling  stick 
For  dame  and  doodle-doo. 


Cock-a-doodle-doo! 

My  dame  has  lost  her  shoe 

And  master's  found  his  fiddle  stick, 

Sing  doodle-doodle-doo. 


Cock-a-doodle-doo! 
Dame  has  lost  her  shoe, 
Gone  to  be  bed,  cap  on  head, 
And  can't  tell  what  to  do. 


The  game  is  designed  to  give  control  of  the  legs  and  combine  the  previous  drill  in 
knee  action  with  a  second  element,  the  run,  which  makes  this  a  two-part  dance  and  there- 
fore a  progression  on  the  preceding  rhythms. 


RHYTHMIC  ACTION   PLAYS  AND   DANCES 
THE    MAN    IN    THE    MOON. 


63 


Mother  Goose 
Moderato 


Mae  Rehberg  Scheuerman 


-+-0- 


The   Man  in  the  Moon  Came  down  too  soon  And  asked  his  way    to  Nor-wich.He 


m 


n 


± 


i 


:i=^^ 


-V     ^    ^ 


g=r=t^- 


-I h 


ite 


m 


went  by  the  south  And  burned  his  mouth 


Eat    -     ing  cold  bean  por  -  ridge. 


9ii 


:-T 


i 


S 


^Ir 


#r 


i^l^ 


CHORUS 
Nursery  Rhyme 
JModerato 


Traditional 


• • — • — • 


•— P     r# 


f— g-g-H"— ^ 


b^— b^— !-. — ?- 


t^ ^—V^^- 


-^— g*-^- 


-^^ W — V — V- 


Bean  por-ridge  hot,  Bean  por-ridge  cold,  Bean  por-ridge  in  the  pot.  Nine  days  old. 


i 


^=«'=^ 


-• — •- 


t— -k— w— t 


e=jEjEpf=£=pg: 


-• — p — *?- 


1 


_j^_ji__^ 


hW — ^  -  -^— ly 


V — V—/ — ^ 


:^=t: 


Some  like  it  hot,       Some  hke  it  cold,      Some  like  it  in  the  pot,  Nine  days  old. 


64 


RHYTHMIC   ACTION    PLAYS   AND   DANCES 


Formation. — A  single  circle  arranged  in  partners  and   all  facing  in  line  of  direction. 
Arms  folded  high  on  chest. 


The  man  in  the  moon 
Came  down  too  soon 
And  asked  his  way  to 


All  run  forward  in  line  of  direction 
taking  long  stiff  legged  strides. 


Norwich. 

He  went  by  the  south 
And  burned  his  mouth 
eating  cold 

bean  porridge. 


All  about  face  with  two  jumps. 


Run  forward  in  opposite  direction. 


Partners  face  each  other  by  every  other  one 
in  the  circle  facing  in  line  of  direction. 


CHORUS 
Partners,  facing  each  other,  do  "Bean  porridge  hot." 
Bean  Clap  thighs. 

porridge  Clap  their  own  hands. 

hot.  Clap  partner's  hands,  face  high. 

Bean  Clap  thighs. 

porridge  Clap  own  hands. 

cold.  Clap  partner's  hands. 

Bean  Clap  thighs. 

porridge  Clap  own  hands. 

in  the  Clap  partner's  hands. 

pot,  Clap  own  hands. 


RHYTHMIC  ACTION   PLAYS  AND   DANCES  65 

jVme  Clap  partner's  right  hand. 

days  Clap  own  hands. 

old.  Clap  partner's  left  hand. 

Some  Clap  thighs. 

like  it  Clap  own  hands. 

hot,  Clap  partner's  hands. 

Some  Clap  thighs. 

like  it  Clap  own  hands. 

cold.  Clap  partner's  hands. 

Some  Clap  thighs. 

like  it  Clap  own  hands. 

in  the  Clap  partner's  hands. 

pot,  Clap  own  hands. 

Nine  Clap  partner's  right  hand, 

days  Clap  own  hands. 

old.  Clap  partner's  left  hand. 


66 


RHYTHMIC  ACTION   PLAYS  AND  DANCES 
BOBBY    SHAFTO 


Mother  Goose 
March  time 


Old  Tune 


^ 


^E 


--X 


--X 


ij: 


-(S?- 


-Si- 


Bob  -  by     Shaf  -  to's    gone     to       sea,       Pret  -  ty     Bob  -  by     Shaf  -   to, 


-f2- 


■i9- 


^ 


s 

\ 


1^ 


X 


:=d: 


-G>- 


V- 


X-- 


---t 


~G>- 


^il 


Sil  -  ver     buck  -  les 
& 


on      his    knees,      Pret  -  ty     Bob  -  by    Shaf  -    to. 

'P a lt^5 r-!©- 


-^ 


X-- 


%-\--- 


X'- 


V- 


Formation. — A  single  file  marching  forward  in  line  of  direction 
Bohhy  Skafto's  gone  to  sea, 

Pretty  Bobby  Shaflo,  '  March  forward,  hands  at  sides 


March  forward,  clap  hands  above  head  four 
times. 


Silver 


buckles 


iBtms&wmmB^ 

■35 

Vv. 

:£?£^5^ 

m 

" 

^  ..^ 

Raise  right  knee  and  clap  hands 
over  knee. 


Raise  left  knee  and  clap  hands 
over  knee. 


on  his 
knees, 
Pretty  Bobby  Shafto. 


Clap  over  right  knee. 

Clap  over  left  knee. 

March  forward,  hands  at  sides. 


As  soon  as  possible  the  children  should  stop  singing  and  do  the  actions  without  the 
words.     This  will  progress  them  to  acting  out  rhythms  without  words. 


CHAPTER   IV 

Hippity  Hops,  Skips  and  Jigs. — Frequently  it  is  rather  puzzling  to  detect  the  exact 
differences  in  form  between  the  various  hops,  skips  and  jig  steps.  In  truth,  many  of 
these  simple  steps  differ  only  in  their  tempo  and  the  interval  in  the  hop  when  the  body 
weight  is  adjusted,  the  mechanism  of  the  steps  being  practically  the  same.  The  dancer 
steps  forward  on  one  foot  and  then  as  he  hops  on  it  he  raises  the  other  foot  from  the 
floor  by  bending  the  knee;  that  is,  the  dancer  may  first  step  on  the  right  foot,  then  as  he 
hops  on  the  right  foot  he  bends  the  left  knee,  raising  the  left  foot  from  the  floor.  In 
the  jig  steps  this  hop  is  very  quick  and  low,  hardly  more  than  a  shoving  of  the  foot 
along  the  floor.  As  the  hop  is  done  very  quickly  there  is  little  time  given  for  raising 
the  opposite  foot  from  the  floor  and  hence  very  little  hip  action  is  used  to  raise  the 
foot.  The  tempo  of  the  hippity  hop  is  slower  and  therefore  the  hop  is  higher,  the  hip 
and  knee  action  more  vigorous,  which  results  in  raising  higher  both  the  knee  and  foot. 
The  term  skip  is  used  rather  loosely  but  generally  it  is  a  more  even  rhythm  than  the 
jig  or  hippity  hop  and  its  tempo  is  about  half  way  between  them.  Because  it  is  the 
most  even  rhythm  it  is  the  most  simple  and  therefore  should  be  taught  flrst.  Most 
children  naturally  know  how  to  skip,  but  some  find  it  a  difficult  action  to  acquire. 
Such  children  should  be  treated  with  great  patience.  First,  the  teacher  should  satisfy 
herself  that  the  children  have  no  foot  trouble.  "Weak  foot"  precludes  all  spring  from 
the  step  and  may  often  be  detected  in  children  who  run  flat  footed.  Walking  and 
running  on  tip-toes  help  to  prepare  for  the  skips  by  strengthening  the  muscles  of  the  feet. 
Sometimes  the  slow  members  of  the  class  may  be  taught  to  skip  by  running  on  their  toes, 
taking  as  long  steps  as  possible.  The  whole  series  of  rhythms  in  the  preceding  chapters 
will  be  found  helpful  as  a  preparatory  drill  for  the  hippity  hops,  skips  and  jigs.  Not 
infrequently  children  experience  difficulty  with  the  time  rather  than  the  mechanism  of 
the  step.  In  which  event  they  may  be  able  to  do  the  step  once  or  twice  but  will  show 
difficulty  in  keeping  up  the  rhythmic  sequence  of  recurrent  action.  More  simple  rhythmic 
actions  should  be  given  as  an  introductory,  such  as  clappings,  stamps,  etc.  If  the  follow- 
ing progression  is  slowly  and  carefully  taught  it  is  not  likely  that  much  trouble  will  be 
experienced  by  the  class  with  either  the  tempo  or  mechanism  of  the  step.  In  Part  One 
the  advisability  of  first  "walking  a  step"  was  expressed,  that  is,  to  give  the  mechanism  of 
the  step  without  any  jump  or  raising  of  the  body  from  the  floor.  It  will  be  seen  in  the 
following  progression  that  this  plan  has  been  adhered  to.  Begin  with  the  swaying  move- 
ment in  "Hush-a-bye  Baby."  Next  give  "See-saw,  No.  11"  in  which  the  swaying  from 
side  to  side  in  part  I  is  done  by  alternately  raising  the  feet  sideways.  This  movement 
merges  into  part  II  where  a  hop  is  added.  Swaying  forward  and  backward  is  harder  than 
swaying  sideways  and  may  next  be  introduced  in  "2"  of  the  "Here  We  Go  on  a  Merry- 
go-round."  This  in  turn  may  merge  into  the  leap  forward  and  backward  of  "3"  of  the 
same  Action  Play.  After  having  mastered  the  foregoing  stages,  the  mechanism  of  the  step 
will  have  been  acquired  and  the  class  should  be  prepared  to  take  up  in  the  indicated 
succession  the  remaining  games  of  the  group  which  will  give  practice  in  the  different 
tempi. 

Progression  for  Teaching 
Hush-a-bye  Baby.  Dame,  Get  Up  and  Bake  Your  Pies. 

See-saw,  No.  II.  Ride  a  Cock  Horse. 

Here  We  Go  on  a  Merry-go-round.  Hippity  Hop  to  the  Barber  Shop. 

Old  King  Cole. 


68 


RHYTHMIC  ACTION   PLAYS  AND  DANCES 
HUSH-A-BYE    BABY 


Old  Nursery  Rhymes 


Traditional 


I 


t=^^ 


^ 


— ^- 


^-='«^ 


lis: 


m 


Hush  -  a  -  bye 


ba 


by,     on     the    tree    top; 


And  when     the    wind 


:t--t:: 


:t=t:: 


p=q=^ 


t=t=^i 


:^=^ 


:i 


i?F= 


=F=f 


-iS(- 


I^^ 


:t 


t^E^: 


E 


blows 


the     era  -  die    will     rock, 


And      when  the  bough  breaks       the 


■tf#M— tf#p — I —^00—^00  - 


:^-t:: 


=F= 


n 


quicker 


I- 


-\^ 


:p: 


-h 


ilF=^-=^il^ 


:2^ 


;ei 


And  down  will  come  rock  -  a  -  bye      ba  -  by    and      all. 


^^=f 


:^: 


:^: 


1=F 


III 


-?s^. 


Formation.— A  single  circle  facing  inward,  and  holding  the  arms  as  if  carrying  a  doll. 
A  child,  chosen  to  be  "it,"  stands  in  the  centre. 

Hush-a-bye  baby,  on  the  tree  top;  Standing   with    the    feet    well   separated,   sway   the 

And  when  the  wind  blows  the  weight  alternately  to  the  right  and  left  foot,  point- 

cradle  will  rock,  ing  the  opposite  toe,  and  at  the  same  time  swing 

And  when  the  bough  the  arms  up  sideways  as  if  swinging  a  doll. 


RHYTHMIC  ACTION   PLAYS  AND   DANCES 


69 


breaks 


the  cradle  will  fall,  and 


down 


will  come  rock-a-bye  baby  and  all. 


Clap    hands    above    head    to 
imitate  the  crack  of  the  bough. 


Lower  arms  forward  as  if  showing  the  direc- 
tion of  the  fall  of  the  cradle. 

This  word  is  the  signal  for  the  children  to  all 
fall  down  in  place. 

The  last  child  to  fall  down  is  "it"  and  ex- 
changes places  with  the  one  in  the  centre. 
The  game  is  then  repeated  as  before. 


SEE-SAW,   No.    II 

For  music  see  page  92. 
Formation. — A  single  circle  facing  centre,  hands  on  hips. 
Part  I. 


See- 


f  >,."  '■  ' 

^ 

* 

.<>UI? 

m 

'^>»*.'::' 

^ 

:^^mS^SSi 

wi'- 

^^IRh 

M 

^I^^^^^Bi  ' 

B 

Kp 

Step   on    right  foot  and  raise 
left  leg  sideward  left. 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 


saw, 


Step  on    left    foot  and    raise 
right  leg  sidewards  right. 


This  represents  the  action  of  the  one  who  stands  upon  the  see-saw  and  "pumps."     Con- 
tinue same  action  to  end  of  Part  I  of  music. 

Part  II. 

Step  sideways  on  right  foot  and  hop,  raising  left  leg  sideward. 
Step  sideways  on  left  foot  and  hop,  raising  right  leg  sideward. 
Continue  same  action  to  end  of  Part  II  of  music. 


Part  III. 

All  clasp  hands  in  circle.     Run  forward  eight  steps  toward  centre  of  circle,  beginning 
with  right  foot.       Stamp  twice  (right,  left)  on  "what  fun." 

Run  backward  eight  steps  and  stamp  twice  on  "what  fun." 


RHYTHMIC   ACTION   PLAYS  AND    DANCES 
OLD    KING    COLE 


71 


Nursery  Rhyme 
Briqldhj 


Adapted  by 
Mae  Rehberg  Scheuerman 


.js \ — ^ — t — c — \t — ^ — s — •*► 


m 


Old  King  Cole  was  a  mer  -ry  old  soul, And  a  mer-ry  old  soul  was     he; 


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called    for  his  pipe  And  he  called  for  his  bowl,  And  he  called  for  his    fid  -dlers 


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And  he  called  for  his  fiddlers  three.       And  he  called  for  his  fiddlers  three. 


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Ev-ery  fid-dlerhad  a  ver-y  fine  fid-die,  A    ver-y  fine  fid-die  had   he.        And 


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we'll    all       fid  -die  for  Old  King  Cole   And    be      as     mer-ry      as     he. 


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72  RHYTHMIC  ACTION  PLAYS  AND   DANCES 

Formation. — A  single  circle  facing  in   line  of   direction,  with  one  chosen  for  Old  King 


Cole. 


Old  King  Cole  was  a  merry  old  soul, 
And  a  merry  old  soul  was  he; 
He  called  for  his  pipe 
And  he  called  for  his  bowl 


Move  forward   around   the  circle  in   line  of 
direction  with  jig  steps. 


And 


Halt  and  face  centre  of  circle. 


he  called  for  his  fiddlers  three, 
And  he  called  for  his  fiddlers  three, 
And  he  called  for  his  fiddlers  three. 
Every  fiddler  had  a  very  fine  fiddle, 
A  very  fine  fiddle  had  he. 
And  we'll  all  fiddle  for  Old  King  Cole 
And  be  as  merry  as  he. 


This  is  a  game  in  which  King  Cole  may  call 
for  whatever  action  he  desires,  and  each  time 
the  chosen  action  is  named  in  the  song  the 
children  go  through  the  motion  chosen. 


Suggestions  for  actions  which  may  be  called  for:  Jumpers,  drummers,  clappers,  point- 
ers, hoppers,  leapers,  runners  (in  place),  bowers,  nodders,  stretchers,  shakers. 


RHYTHMIC  ACTION  PLAYS    AND  DANCES 

DAME,    GET   UP   AND    BAKE   YOUR   PIES 

Old  Nursery  Rhyme  Traditional 


73 


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Dame,    get     up 


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and  bake    your  pies,     Bake  your  pies,      bake  your  pies, 
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Dame,  get  up       and  bake  your  pies,  On  Christmas  day    in     the  morn 


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Formation. — A  single  circle  facing  in  line  of  direction  with   the  dame  kneeling  in   the 
centre,  pretending  to  be  asleep  by  closing  her  eyes  and   leaning  her  cheek  on  her  hands. 


The  children  all  skip  around  circle  in  line  of  direction  as  they  sing  the  song.  After 
singing  the  whole  of  the  song,  the  children  halt  and  face  inward,  at  the  same  time  the 
dame  wakes  up  and  points  her  finger  over  her  shoulder  at  some  child  behind  her  in  the 
circle,  of  whom  she  asks,  "  What  kind  of  pies  shall  I  bake?  Pumpkin,  mince  or  cranberry?" 
The  child  to  whom  she  points  must  answer  one  of  the  three  kinds  of  pie.  The  dame  tries 
to  guess  from  the  aaswer  who  has  spoken.  Should  she  succeed  she  may  take  the  place 
in  the  circle  of  the  child  whose  name  she  guessed  correctly  and  this  child  becomes  the 
new  dame.  Should  the  dame  fail  to  recognize  the  voice,  she  must  continue  to  act  as  the 
dame  and  the  game  proceeds  as  before. 


74 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 
KIDE   A    COCK   HORSE 


Mother  Goose 
Lively 


Old  Tune— Adapted 


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Ride  a  cock  horse  to  Ban-bu-ry  Cross,To  see  a^fine  la-dy  up-on  a  white  horse.With 


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rings  on  her  fin-gers  and  bells  on  her  toes,She  shall  have  mu-sic  wher-ever  she  goes 

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Formation. — A  single  circle  facing  in  line  of  direction. 

Ride  a  cock  horse  to  Banbury  Jig  forward   moving  around  circle  in  line  of 

Cross,  To  see  a  fine  lady  upon        direction. 
c  white  horse. 


With 
rings  on 

her  fingers 


Halt  and  face  inward. 

Raise  right  hand  sideward  opposite  right  ear 
and  shake  right  hand. 

Shake  left  hand  opposite  left  ear. 


and  bells  on 


her  toes, 


Raise  right  foot  sideward  and 
shake  it  twice. 


Shake  left  foot  twice. 


She  shall  have  rmisic  wherever 
she  goes. 


Turn  to  the  left  in  place  with  jig  steps. 


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RHYTHMIC   ACTION   PLAYS   AND    DANCES 
HIPPITY    HOP   TO   THE    BARBER   SHOP 


Arranged  by 
Mae  Rehberg  Scheuerman 


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Hip  -  pi  -    ty     hop     to    the  bar  -  ber  shop  To   buy    a    stick    of    can   -    dy, 


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One       for    you      and    one      for     me,    And    one      for    sis  -    ter    An    -  nie. 


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Formation. — Double  circle,   partners  clasping  hands  and  facing  in  line  of  direction. 


Hippity  hop  to  the  barber  shop 
To  buy  a  stick  of  candy, 
Hippy  hop  to  the  barber  shop 
To  buy  a  stick  of  candy, 


Hippity   hop   forward   beginning   with    right 
foot  and  swinging  clasped   hands  backward 
and  forward  with  each  step. 
Repeat. 


One  for  you 


Face  partner. 

Clap  hands  and  stretch  arms  toward 
partner  waist  high  with  palms  fac- 
ing upward. 


76 


RHYTHMIC  ACTION   PLAYS  AND   DANCES 


and  one  for  me 


Clap  hands  and  place  tips  of  fin- 
gers on  own  chest. 


and  one  for  sister  Annie. 


Clasp  right  hands  and  hippity  hop  in  circle 
around  to  left,  and  on  to  the  next  partner  to 
the  right. 


The  changing  of  partners  is  too  difficult  for  childi-en  at  this  stage  of  the  course  and 
should  be  given  at  some  later  date.  Instead  the  partners  may  circle  in  place  without  the 
change. 


CHAPTER  V 

Balance  Step  and  Point  Step. — The  balance  step  defined  in  the  glossary  may  be 
taught  by  the  following  progression.  Review  the  swaying  movement  in  "Hush-a-bye 
Baby";  this  will  teach  the  sideward  movement;  next  review  the  leg  raising  sideward  in 
"See-saw,  No.  II."  Then  with  the  "Leg  over  Leg"  music  on  page  90,  step  alternately 
sideward  as  in  the  "See-saw"  but  instead  of  raising  the  leg  sideways  swing  it  forward  and 
across  the  body,  keeping  the  knee  stiff.  After  the  class  has  learned  to  swing  the  legs 
alternately  forward  and  across  the  body,  the  toe  may  be  lowered  and  touch  the  floor 
on  each  swing  so  that  the  children  do  alternate  toe  touch  forward.  When  this  move- 
ment has  been  acquired  they  may  be  given  "Twinkle,  Twinkle,  Little  Star,  No.  I"  to 
learn  heel  raising.  The  toe  touch  forward,  combined  with  heel  raising  of  the  supporting 
foot  in  the  balance  step  of  "Come,  My  Dolly,"  will  be  found  to  be  a  natural  sequence. 

The  point  step  is  an  alternate  toe  touch  forward  or  backward  followed  by  a  step  in 
the  same  direction.  Practice  in  this  step  is  given  in  "The  Fireflies'  Dance,"  where  three 
running  steps  precede  the  point,  and  in  "The  Fairies'  Moonlight  Dance." 


Progression  for  Teaching 

Leg  over  Leg.     (Music.) 

Twinkle,  Twinkle,  Little  Star,  No.  I. 

Come,  My  Dolly. 

The  Fireflies'  Dance. 

The  Fairies'  Moonlight  Dance. 


77 


78  RHYTHMIC  ACTION  PLAYS  AND   DANCES 

TWINKLE,    TWINKLE.    LITTLE    STAR,    No.  I 

For  music  see  page  126 

Formation. — A  single  circle,  partners  standing  facing  each   other,    with   their  hands 
clasped  and  sides  to  the  centre  of  the  circle. 


1.  Twinkle,  twinkle, 


Raise  on  toes  and  raise  hand^  high 
above  head.  Then  lower  heels  and 
hands  —  and  repeat. 


2.  little  star, 


Partners  change  places  by  circling  in  place 
with  two  slides,  beginning  with  the  right  foot. 


3.  How  I  wonder 

4.  what  you  are, 

5.  Up  above 

6.  the  world  so  high, 

7.  Like  a  diamond 

8.  in  the  sky. 


Same  as  1. 
Same  as  2. 
Same  as  1. 
Same  as  2. 
Same  as  1. 
Same  as  2. 


RHYTHMIC   ACTION   PLAYS  AND   DANCES 
COME,    JMY   DOLLV* 


79 


Lydu  Avery  Coonley 
Alleqretto  (frazioso 


Eleanor  Smith 


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Come,  my    dol   -    ly,     come  with  me,    Dance   be  -  neath   the      ap  -  pie  tree. 


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See    the  blos-soms  fly  -  ing  down. 


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Wings  of  pink  and  i-o  -  sy  crown. 


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Catch  them,  dolly,  in  your  gown, 


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Catch  them,dolly,  in  your  gown.    While  the  sun  sees 


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•From  "Singing  Verses  for  Children"  (Macmillan  &  Co.)  by  the  kind  permission  of  the  author. 


80 


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RHYTHMIC   ACTION  PLAYS  AND   DANCES 


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you  and  me    Dancing  'neath  the  ap  -  pie  tree,    Dancing  'neath  the  ap-ple  tree. 


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Formation. — A  single  circle  facing  in  line  of  direction. 


1 .  Come,  my  dolly,  come  with  me, 
Dance  beneath  the  apple  tree. 


"  Balance  step  "  forward  alternately 
right  and  left.  The  hands  may  be 
reached  forward  as  if  holding  a 
dolly's  hands.  The  arms  should 
swing  from  side  to  side  with  the 
step. 


2.  See  the  blossoms 


flying  down. 


Raise  arms  forward  upward. 


Lower  arms  forward  downward 
fluttering  hands  to  imitate  falling 
petals. 


RHYTHMIC  ACTION   PLAYS  AND   DANCES 


S.  Wings  of  pink 


and  rosy  crown. 


Raise  arms  sideways  upward. 


Lower  arms  sideways  downward  flut- 
tering liands. 


Jt.  Catch  them,  dolly. 


%n  your  gown. 


Raise  the  skirt  slightly,  holding  the 
hem  with  both  hands,  at  the  same 
time  look  upward  and  raise  on  toes. 


Lower  heels. 


5.  Catch  them,  dolly,  in  your  gown. 

6.  While  the  sun  sees  you  and  me 
Dancing  'neath  the  apple  tree. 


Repeat  4. 
Repeat  1. 


7.  Dancing  'neath  the  apple  tree. 


Curtsy. 


82  RHYTHMIC  ACTION  PLAYS  AND   DANCES 

THE   FIREFLIES   DANCE 

Irene  E.  Phillips  Moses 


Mae  Rehberg  Scheuerman 


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Flick-er,  flick-er,  fire-flies,flash  and  dart,  Tiny  lit-tle  fireflies  dancing  in  the  dark. 


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Won't  you  tell  your  se  -  cret, where  it    is  you  go?        I  have  of  -  ten  wondered  and  I 


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want  so    much     to    know.  When  you  flick -er.flick  -  er.flick- er,  flash  and  dart,     I 

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nev-er  see  you  aft-erward,  where  is    it  you  de-part?  Oh !  flicker,  flicker,  fire  -  flies. 


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danc-ing   in     the  dark. 


Ti  -  ny  lit  -  tie  specks  of  light,  flash  and    dart. 


RHYTHMIC   ACTION   PLAYS  AND   DANCES  83 

Formation.-A  single  circle  facing  inward,  partners  I  and    II   standing  side  by  side. 


1.  Flicker,  flicker,  fireflies, 

2.  flash  and  dart, 

S.  Tiny  little  fireflies 
1^.  dancing  in  the  dark. 

5.  Won't  you  tell  your  secret, 

6.  where  it  is  you  go? 

7.  I  have  often  wondered 

8.  and  I  want  so  much  to  know. 

9.  When  you  flicker,  flicker,  flicker, 

10.  flash  and  dart, 

11.  I  never  see  you  afterward, 

12.  where  is  it  you  depart? 

13.  Oh!  flicker,  flicker,  fireflies, 
lit.  dancing  in  the  dark. 

15.  Tiny  little  specks  of  light, 

16.  flash  and  dart. 


Beginning  with  the  right  foot,  run  three 
steps  inward  toward  centre  of  the  circle  and 
point  left  toe  forward. 

Beginning  with  the  left  foot,  run  three  steps 
backward  and  point  right  toe  forward. 

Same  action  as  1. 

Same  action  as  2. 

All  face  in  line  of  direction.  Both  beginning 
with  the  right  foot,  No.  I's  run  three  steps  in 
place  and  point  left  toe  forward.  No.  II's 
run  forward  three  steps  and  stop  at  left  of 
partner,  pointing  left  toe  forward. 

Partners  clasp  inside  hands.  Beginning  with 
the  left  foot,  all  run  forward  three  steps  and 
point  right  toe. 

Beginning  with  the  right  foot,  all  run  forward 
in  line  of  direction  three  steps  and  point  left  toe. 

Same  action  as  6. 

Partners  let  go  of  hands  and  turn  facing  part- 
ner, beginning  with  the  right  foot,  run  forward 
passing  partner  on  the  right  and  point  left  toe 
forward. 

Beginning  with  the  left  foot,  run  three  steps 
backward,  passing  to  the  right  of  partner,  and 
point  right  toe  forward. 

Same  action  as  9. 

Same  as  action  10. 

Same  action  as  5. 

Same  action  as  6. 

Same  action  as  7. 

Same  action  as  6. 


84 


RHYTHMIC  ACTION   PLAYS  AND   DANCES 
THE   FAIRIES'    MOONLIGHT   DANCE 


#-»-#-#-^#-r^ — r^ — I- 


Mae  Rehberg  Schbuerman 


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The  "point  step"  is  one  of  tiie  simplest  in  dancing,  but 
also  one  which  little  children  perform  the  most  clumsily.  To 
make  the  point  a  dainty  motion  rather  than  a  dig  into  the 
floor  with  the  toe,  a  setting  such  as  the  following  may  be  used. 

First  tell  the  children  some  fairy  story  to  impress  upon 
them  what  delicate,  shy  and  light  little  creatures  the  fairies  are 
and  how  quietly  they  move.  After  the  story  the  teacher  may 
suggest  that  the  childi-en  pretend  they  are  fairies  and  have  a 
moonlight  dance.  The  dance  may  be  supposed  to  take  place 
under  a  spider  web  for  a  tent  which  is  situated  in  a  field,  wood 
or  park.  The  ground  may  be  covered  with  daisies  and  violets. 
As  it  is  night  the  fairies  will  not  want  to  awaken  the  flowers, 
so  they  will  carefully  push  them  aside,  with  the  toe,  before 
they  step.  That  is,  before  each  step  they  may  push  a  flower 
aside.  The  teacher  may  accompany  and  direct  the  action  by  a 
sing  song  such  as  "push  a  daisy,  step;  push  a  violet."  The 
very  slowly  at  first. 


music   should    be   played 


CHAPTER   VI 

The  Step  Hop.— In  teaching  steps  which  require  the  leg  to  be  raised  and  swung 
forward  or  backward  without  bending  the  knee,  such  as  in  the  "Aesthetic  Schottisch 
Step,"  the  "Step  Hop,"  etc.,  some  difficulty  is  frequently  encountered  in  getting  the 
children  to  raise  the  leg  as  a  whole.  The  natural  impulse  seems  to  be,  when  the  leg  is 
'  raised,  to  lift  the  foot  perpendicular  to  the  floor  by  bending  the  knee,  as  in  the  jigs  and 
skips.  For  this  reason  jigs  and  skips  should  be  taught  before  the  step  hop.  The  mechan- 
ism of  this  step  is  to  step  forward  or  backward  and  hop,  at  the  same  time  raising  the 
leg  either  forward  or  backward  with  the  knee  stiff.  Swinging  the  leg  across  forward  in 
the  preceding  chapter  has  directly  prepared  for  the  progression  in  this  group.  To  teach 
this  step,  let  the  children  do  the  stepping  from  side  to  side  with  the  "Leg  over  Leg" 
music  and  swinging  the  leg  forward  as  before,  except  they  may  give  a  little  hop  each 
time  the  word  "jump"  appears  in  the  song.  After  the  children  have  caught  the  idea  of 
the  step  followed  by  the  jump,  they  may  hop  after  each  jump.  "Yankee  Doodle"  may 
now  be  given  in  which  the  first  action  is  the  step  hop  raising  the  opposite  leg  backward, 
which  is  very  like  the  jig  steps.  "Jack  Be  Nimble"  may  easily  follow,  in  which  the  leg 
is  raised  forward. 


Progression  for  Teaching 

Leg  over  Leg.     (Music.) 

Yankee  Doodle. 

Jack  Be  Nimble. 

Leg  over  Leg.     (Game.) 

Jack  and  Jill,  No.  I. 


86 


86 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 
YANKEE   DOODLE 


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Yan  -  kee  Doo-  die    went  to    town  A   -   rid  -  ing    on      a        po      -      ny,  He 


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ii 


RHYTHMIC   ACTION  PLAYS  AND   DANCES  87 

Formation.— A  single  circle  facing  in  line  of  direction  with  the  hands  on  the  hips. 


Eight  pacing  steps  forward  in  line 
of  direction,  that  is,  step  forward 
on  right  foot,  knee  slightly  bent, 
incline  body  diagonally  forward 
right.  At  the  same  time  raise  the 
left  leg  backward,  and  hop  on  right 
foot.  Same  left  and  repeat  alter- 
nating right  and  left. 


Yankee  Doodle  went  to  town 
a-riding  on  a  pojiy, 


He 


stuck 


a  feather 


Halt  and  face  centre  of  circle. 


Raise  right  hand  and  point  right 
forefinger  toward  head. 


Point  forefinger  upward  to  repre- 
sent feather. 


in  his  cap 


Point  forefinger  toward  head. 


88 


RHYTHMIC  ACTION  PLAYS  AND  DANCES 


And  called  him 


Bow  and  place  tips  of  fingers  on 
chest. 


Macaroni. 


Step  back  on  right  foot  and  curtsy, 
bowing  well  forward  and  extend- 
ing arms  sideways  shoulder  high. 


Yankee  Doodle,  Ha,  Ha,  Ha, 
Yankee  Doodle 

Dandy. 

Yankee  Doodle,  Ha,  Ha,  Ha, 
Buy  the  girls  some 

candy. 


Clasp  hands  in  circle  and  slide  around  circle 
to  the  right. 

Stamp  (right,  left). 

Slide  around  circle  to  right. 

Clap  twice. 


This  dance  must  be  done  vivaciously.  If  the  children  are  stimulated  to  execute  it 
with  spirit,  it  is  a  very  popular  dance.  When  included  in  a  program  of  foreign  Folk 
Dances  to  give  a  touch  of  American  spirit  it  has  been  greeted  with  very  enthusiastic 
applause. 


Mother  Goose 
Lively 


RHYTHMIC   ACTION  PLAYS  AND   DANCES 

JACK    BE   NIMBLE 

Mae  Rehberg  Scheuekman 


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Jack    be    nim  -  ble,  Jack    be   quick.         Jack  jump  o  -  ver  the    can-die-stick. 


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Jack   be    nim  -  ble,  Jack     be  quick,     Jack    jump  o  -  ver    the    can  -die-  stick. 


^^ 


Formation. — A  single  circle  facing  in  line  of  direction. 


Some  child,  or  the  teacher,  holds  a  blackboard  pointer,  or  similar  stick,  a  suitable 
distance  from  the  floor  and  the  children  move  in  line  of  direction  with  the  step  hop,  rais- 
ing the  active  foot  well  forward.  As  each  child  comes  to  the  stick  he  jumps  over  it.  The 
height  at  which  the  stick  is  held  may  be  gradually  increased  as  the  class  acquires  skill 
in  jumping. 


90 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 
LEG   OVER   LEG 


Mother  Goose 


Swedish 


came 


to 


a       stile         and       jump        he      went 


ver. 


Formation. — A  single  circle,  facing  inward.     Two  children  stand  in  the  centre  of  the 
circle  swinging  a  jumping  rope  (the  stile). 


Leg  over  leg  as  the  dog  went  to 

Dover, 

He  came  to  a  stile 


and  jump  he  went  over. 


All  step  hop  in  place  or  stand  still  except 
one  child.  At  each  repetition  of  this  part  of 
verse,  the  children  in  turn  step  hop  forward 
from  the  circle  to  the  jumping  rope. 

The  child  then  jumps  the  rope  and  as  the  first 
of  the  verse  is  being  repeated,  he  returns  to 
his  place  in  the  circle. 


RHYTHMIC   ACTION   PLAYS   AND   DANCES  91 

JACK    AND    JILL.    No.    I 

For  music  see  page  103 
Formation.— Double  circle,  partners  standing  side  by  side,  facing  in  line  of  direction. 


Jack  and  Jill 

Went  up  the  hill 

To  fetch  a  pail  of  water. 


Four  step  hops  forward  in  line 
of  direction. 


Jack  fell  down 
And  broke  his  crown 


And  Jill  came  tumbling  after. 


Jack   kneels   in    place.      Jill 
stands  still. 


Jill  kneels  beside  Jack. 


CHAPTER  VII 

The  Hop  Waltz.— The  "Hop  Waltz,"  or  more  properly  the  "Step  Hop  Waltz,"  is 
a  Folk  Dance  step  of  considerable  difficulty  and  is  too  advanced  for  small  children.  A 
modified  form  often  used  is  given  here,  as  children  greatly  enjoy  "hop  waltzing."  It  is 
danced  in  couples  with  constant  turning  as  in  the  round  dances.  Partners  stand  facing 
each  other,  their  clasped  hands  being  held  out  at  the  sides  about  shoulder  high.  They 
both  step  in  line  of  direction  with  outside  feet  and  hop  once,  then  step  on  the  opposite 
feet  and  hop.  This  stepping  and  hopping  on  alternate  feet  they  continue  as  they  move 
in  line  of  direction  around  the  room,  turning  slightly  on  each  step.  In  teaching  this 
step,  it  is  taken  sideward,  but  when  the  couples  get  to  turning  they  may  step  in  any 
desired  direction,  e.g.,  one  of  the  partners  may  step  backward  and  the  other  follow  his 
movement  by  stepping  forward.  To  teach  the  step,  review  the  "See-saw,  No.  11"  which 
teaches  the  mechanism  of  the  step  in  place,  but  not  in  couples.  In  part  1  of  "See-saw, 
No.  Ill"  the  step  is  "walked  in  place"  in  couples.  Little  difficulty  will  be  experienced 
in  acquiring  the  "Hop  Waltz"  in  part  2,  if  before  trying  to  move  in  line  of  direction, 
the  turn  be  done  in  place  until  the  ability  to  turn  is  mastered. 

Progression  for  Teaching 
See-saw,  No.  Ill 


SEE-SAW,  No.   Ill 


Part  I 

Andante 


Alfred  G.  Crowe 
Adapted 


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RHYTHMIC  ACTION   PLAYS  AND   DANCES 


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94 


RHYTHiMIC   ACTION   PLAYS   AND   DANCES 


Formation. — A   double  circle,   partners  facing  and  clasping  hands.     The  inside  circle, 
A's,  facing  outward,  outside  circle,  B's,  facing  centre  of  circle. 

Part  I. 

1.  Represents  action  of  see-saw. 


See- 


"A"   bend    knees  and  squat 
down. 


sow. 


"  B "  Bend  knees  and  squat 
down.  "A"  straighten  knees 
and  stand  up.  This  alternate 
squatting  down  and  straight- 
ening up  of  "A"  and  "B" 
is  the  action  for  "see-saw" 
throughout  Part  I. 


2.  Represents  the  action  of  the  one  who  stands  on  centre  of  board  to  balance  it. 

Now  we're  up  or  down  "A"  steps  sideways  left. 

"B"  steps  sideways  right,  then 
"A"  steps  sideways  right. 
"B"  steps  sideways  left,  then 
"A"  steps  sideways  left. 
"B"  steps  sideways  right,  then 
bring  heels  together. 


Now  ive're  off  for 
London  town. 


Same  action  as  above. 


RHYTHMIC  ACTION  PLAYS  AND  DANCES 


Part  II. 


Boys  and  girls  come 
out  to  play, 

On  this  our  holiday. 


Same  action  as  above. 


Same  action  as  above. 


Part  III. 


1.  Ha,  ha,  etc. 

2.  what  fun, 

3.  Ha,  ha,  etc. 
Jf.  what  fun. 


Hop  waltz  with  partner,  progressing  in  line  of  direction 
around  circle. 


Bend  forward  and  run  with  partner  in  line 
of  direction,  holding  inside  hands.  On  last 
"ha"  lean  backward  and  place  inside  heels 
forward,  toe  pointing  upward. 

Raise  hands,  looking  at  partner.  "A"  claps 
hands  twice  at  left  side  of  face.  "B"  claps 
hands  twice  at  right  side  of  face. 

Same  as  1,  except  point  outside  heels  forward. 

Same  as  2. 


CHAPTER  VIII 

Sliding  with  Alternate  use  of  the  Feet. — One    reason    why  many  find  it  diflBcult  to 

teach  the  waltz  and  two  step  to  children  is  because  these  steps  require  more  than  one 
single  movement  to  be  made  with  the  feet.  In  all  such  actions  as  walking,  running 
and  climbing  the  feet  are  used  alternately  for  a  single  action.  Therefore  this  group  has 
been  placed  after  those  which  are  supposed  to  prepare  for  it  by  teaching  series  of  move- 
ments repeated  alternately  in  rhythmic  sequence.  These  games  are  neither  expected  or 
intended  to  teach  the  two  step  and  waltz,  which  have  been  left  for  later  instruction,  but  it 
does  aim  to  give  the  child  a  good  preliminary  training  which  will  aid  in  the  teaching  of 
these  more  difficult  steps.  The  "face  to  face  and  back  to  back"  figure  which  is  found 
in  many  Folk  Dances  appears  here  in  a  modified  form  suitable  for  little  children.  There 
are  no  "cuts,"  "heel  raising"  or  turning  on  balls  of  the  feet.  These  points  should  not 
be  emphasized  with  beginners. 

This  progression  should  be  preceded  by  a  review  of  "Playing  Train"  and  "Pussy 
Cat,  Pussy  Cat."  In  this  chapter  is  the  first  use  of  counts  and  it  has  been  thought  wise 
here  to  make  the  transition  to  the  more  formal  teaching  of  dancing.  The  child  has  learned 
the  mechanism  of  sliding  in  Chapter  II.  In  the  succeeding  chapters  he  has  learned  to 
execute  actions  in  various  series,  as  in  "Bobby  Shafto"  (series  of  four  movements).  Now 
that  he  can  follow  the  music  and  do  these  movements  let  him  count  the  slides  instead  of 
saying  the  words  of  the  song.  Let  the  class  count  the  scuffs  in  "Playing  Train,"  the  claps 
in  "Bobby  Shafto"  and  the  step  hops  in  the  "Step  Hop  Waltz."  The  class  may  then  be 
formed  into  a  straight  line  (with  the  "Children  Sliding"  music)  slide  forward  around  the 
room,  sliding  four  slides  alternately  right  and  left.  If  the  teacher  desires  she  may  vary 
this  sliding  and  alternate  the  slides  with  four  claps  or  four  stamps  in  place.  After  the 
class  has  acquired  the  ability  to  slide  four  times,  then  it  may  in  the  same  manner  do  three 
shdes  with  alternate  feet  with  "The  Fairies'  Moonlight  Dance"  music.  From  this  they 
can  easily  progress  to  the  two  slides  using  "The  Christmas  Ships"  music.  In  this  group 
in  particular  it  is  well  to  keep  in  mind  the  mental  and  physical  processes  involved  in  ac- 
quiring new  co-ordinations,  for  progress  is  often  slow  and  much  repeating  may  be  necessary. 

The  "face  to  face  and  back  to  back"  movements  of  "Brownies  and  Fairies"  and 
"Jack  and  Jill,"  No.  II,  will  be  easily  mastered  after  the  preceding  exercises. 


Progression  for  Teaching 

Review: 

Playing  Train.  Brownies  and  Fairies. 

Bobby  Shafto.  Jack  and  Jill,  No.  II. 

Pussy  Cat,  Pussy  Cat.  The  Little  Nut  Tree. 

Children  sUding. 

The  Fairies'  Moonlight  Dance.     (Music.) 

The  Christmas  Ships. 


96 


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RHYTHMIC  ACTION  PLAYS  AND  DANCES 

CHILDREN    SLIDING 

Mae  Rehberg  Scheuerman 


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98 


RHYTHMIC   ACTION   PLAYS   AND    DANCES 


THE   CHRISTMAS   SHIPS 


Old  Nursery  Rhyme 


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I     saw  three  ships  come  sail  -  ing  by, 
What  do    you  think  was   in   them  then, 


Sail  -  ing  by. 
In  them  then, 


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saw  three  ships  come  sail  -  ing    by.       On      Christmas  day    in     the  morn     -      ing. 
do     you  think  was     in    them  then.    On      Christmas  day    in     the  morn     -      ing? 


Formation. — Standing   in   groups   of   three   side   by   side  facing  in  line  of  direction 
inside  hands  clasped. 


> 
> 
> 


AAA 


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Two  step  forward  around  circle  in  line  of  direction  through  first  two  verses.  Some 
child  is  then  allowed  to  choose  a  toy  which  they  all  act  out.  Suggestions  for  such  actions 
follow: 


A  hright  red  sleigh  to  draw  you  on, 
draw  you  on,  draw  you  on, 
a  bright  red  sleigh  to  draw  you  on, 
on  Christmas  day  in  the  morning. 

Some  roller  skates  to  skate  with  you,  etc. 

A  jack-in-the-box  to  jump  at  you,  etc. 


All  run  around  the  circle  in  line  of  direction 
holding  their  hands  behind  them  as  if  pulling 
a  sleigh. 

Skate  around  circle  in  line  of  direction. 

Jump  up  in  place  each  time  the  word  jump 
appears  in  the  verse. 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 


99 


A  drum  to  heat  with  a  rub-a-dub-dub,  etc. 

A  box  of  soldiers  that  stand  up 
straight,  etc. 

A  hook  and  ladder  to  run  to  a  fire,  etc. 

A  top  that  will  spin  a  long,  long  time, 
etc. 

A  rocking  horse  that  rocks  this  way, 
etc. 


A  grasshopper  that  jumps  and  hops,  etc. 


Shake  hands  as  if  beating  a  roll  on  the  drum. 

Stand  up  very  stiff  and  straight  to  imitate 
tin  soldiers. 

Gallop  around  circle  in  line  of  direction. 

Turn  quickly  in  place  and  spin  around  the 
circle. 

To  rock:  Place  right  foot  forward  and  sway 
weight  to  right  foot  slightly  raising  left  leg 
backward.  Sway  weight  to  left  foot  and 
slightly  raise  right  foot  forward. 

On  each  word  "jump"  or  "hop,"  jump  for- 
ward with  a  short  jump  with  both  feet,  trying 
to  land  on  toes  with  knees  bent. 


This  game  may  be  continued  as  long  as  desired.     After  each  toy  is  chosen,  the  two 
step  forward  is  repeated.    The  children  take  turns  choosing  the  toys. 


100  RHYTHMIC  ACTION  PLAYS  AND   DANCES 

BROWNIES   AND   FAIRIES 

Irene  E.  Phillips  Moses  Arranged  by  Emily  Perkins  Wells 


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By     the  moon  we    sport  and  play.         With    the  night  be  -  gins  our    day  ; 


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RHYTHMIC   ACTION   PLAYS   AND    DANCES 


101 


As    we     frisk   the     dew  doth    fall, 


Trip      it,      lit  -  tie 


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Formation; 


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^     -,  The  fairies   (girls)   kneel   in   groups    of   five 

close  together  with  their  heads  on  their  knees, 

^  pretending  to  be  asleep  under  a  toadstool. 

The  brownies  (boys)  stand  close  together  in 

circles  of  five  with  their  hands  clasped  to  form 

~  hollow  trees.     If  the  class  cannot  be  arranged 

>  well  in  groups  of  five,  any  other  convenient 

^  number  may  be  used.     It  is  not  necessary  that 

J  the  brownies  and  fairies  be  boys  and  girls;  in 

fact,  it  is  frequently  both  wise  and  desirable 

^  to  avoid  such  a  separation  of  the  class. 


Five  little  fairies  under 
a  toadstool,  all  sleeping 
soundly  while  children 
are  at  school; 


All  keep  still. 


102 


RHYTHMIC   ACTION    PLAYS   AND   DANCES 


Now  the  moon  is  shining,  watch  them 

creep  out, 

1-2-3-4-5  dancing  about. 


The  fairies  stand  up  and  raise  their  clasped 
hands  high.  One  of  the  fairies,  previously 
chosen,  lets  go  of  the  hand  of  her  neighbor  to 
the  left  and  walks  under  the  clasped  hands  of 
two  fairies  to  her  left,  at  the  same  time  pull- 
ing the  string  out  after  her  so  that  all  of  the 
fairies  pass  out  under  the  arch  and  form  a 
straight  line.  The  last  fairy  in  the  line  should 
turn  under  her  own  arm.  The  various  groups 
of  fairies  then  clasp  hands  in  one  big  circle 
in  the  centre  of  the  room  and  slide  around 
the  circle  during  the  second  verse. 


Five  little  brownies 
hidden  in  a  tree. 
As  secret  and  as  safe 
as  ever  could  be, 


Now  watch  them  come 
stealing  out  of  a  hole 
To  dance  with  little  fairies 
on  a  grassy  knoll. 


•*^    Brownies  stand  still. 


The  brownies  creep  out 
the  same  as  the  fairies. 
After  the  brownies  have 
pulled  their  lines  out 
straight,  they  let  go  of 
hands  and  run  forward, 
each  taking  a  fairy  by  the 
hand. 


RHYTHMIC   ACTION   PLAYS  AND   DANCES 


108 


DANCE. 

Partners  face  each  other  clasping  inside  hands,  brownies  facing  inward  and  fairies  with 
backs  to  the  center  of  the  circle. 

By  the  moon  we  sport  and  play, 
With  the  night  begins  our  day; 

■  As  we  frisk  the  deiv  doth  fall,  .,^^^^  ^^  ^^^^  ^^^  ^^^^  ^^  ^^^^„ 

Trip  It,  httle  urchms  all,  .    ^^^.        j^^^^,.^   ^^^^^^   ^j^^,^   .^ 

Two  by  two  so  hght  and  free,  ,j^^  ^^  direction;  i.e.,  all  slide  four 

All  about,  about  go  toe.  ^^.^^^  sideward  in  line  of  direction, 

partners  facing  and  holding  clasped 
hands  high  and  peeking  at  each 
other  in  front  of  arms.  Then  swing 
arms  downward  and  up  and  turn 
back  toward  partner  and  slide  four 
slides  sidewards  in  line  of  direction, 
peeking  at  partner  behind  arms. 
Continue  alternating  four  slides  fac- 
ing then  four  slides  back  to  back 
until  end  of  music.  If  it  is  desired 
to  make  the  dance  longer,  the  sec- 
ond half  of  music  may  be  repeated 
at  the  discretion  of  the  teacher. 


Mother  Goose 
Lively 


JACK   AXD   JILL.   No.    II 

Mae  Rehberg  Scheuerman 


^EM=4=g^ 


:^=i 


K-i 


:!= 


it 


-1-- 


Jack    and  Jill    went   up      the  hill      To    get 


f:_»t_i?_ 


a  pail 


of 


wa    -    ter. 

-«■   -^ 

■•■   ■#- 

w — m- 


^F=^^ 


-w- 


g 


iLzztTt 


3?r 


-^^ 


Jack    fell  down  and  broke   his  crown,And  Jill     came  tumb-  ling    af 
*       -ft     -^       # 


ft 


mi\ 


ter. 


I^ 


m^^^^ 


104 


RHYTHMIC   ACTION   PLAYS  AND   DANCES 


Formation. — A  double  circle  in  couples,  partners  facing,  inside  hands  clasped  and  held 


high. 

Jack  and  Jill 

went  up  ike  kill 

To  fetch  a  pail  of  water. 


"Face  to  face  and  back  to  back";  i.e., 
partners  take  two  slides  sideways  in  line  of 
direction  with  outside  feet,  then  swing  arms 
down  between  and  up  again,  turning  back  to 
back  and  sliding  two  slides  in  line  of  direction 
with  inside  feet,  and  repeat. 
For  pictures,  see  page  103. 


Jack  fell  down 


Jack  kneels  on  right  knee. 


and  broke  his  crown, 
And  Jill  came 


Jill  two  steps  or  jigs  around  Jack,  passing  in 
front  of  him. 


tumbling  after. 


Jill  kneels  beside  Jack. 


RHYTHMIC  ACTION   PLAYS  AND   DANCES 
THE   LITTLE   NUT   TREE 

Old  Nursery  Rhyme  Old  English 


105 


:^ 


Si^^Ei 


t- 


-0 — • — h- 


W — \fi — 1>^- 


-^- 


I 


I     had    a      lit  -  tie    nut  tree,        noth  -  ing  would  it     bear, 

-^  X  *  *  ^    -m.    ^ 

» -^ Wt* 1 • — ■f-—rr 1         r       I r#- 


I 


^— •  -^—m—P 


■^-■^-^ 


P=^=^^ 


H-^H^ 


^IS 


But  a  sil -ver  nut  -  meg,      and  a  golden  pear;        The  King  of  Spain's  daughter 


-• — h 


%=S 


£ 


-»-r#- 


1 


t±t: 


# — •- 


i%^ 


-^^ 


S 


^ 

^^-p 


'— U-H?" 


came  to  vis-it    me, 


-^-f- 


:£ 


2Ei 


-tzt 


And    all       for  the  sake       of  my  lit  -  tie  nut        tree. 

H«^  -ft  -^ 


'h— ^— I — r#— p~ •— I — r-f— I — •     \    \  ~ — • — i— Pt • f— Ti — » ri 


Formation. — Two  concentric  circles  facing  each  other,  a  ^  v  of    the    King    of 

Spain  being  designated  in  the  outer  circle. 


I  had  a  little  nut  tree, 
nothing  would  it  bear, 
But  a  silver  nutmeg, 
and  a  golden  pear; 


Each  circle  clasps  hands  and  slides  to  right; 
that  is,  circles  move  in  opposite  direction. 


106  RHYTHMIC  ACTION  PLAYS  AND   DANCES 

The  King  of  Spain's  -j  ^^^^^^'^^  }        The  circles  halt,  the  King  of  Spain's  |  ^^^^^^^^  \ 

_^  previously  chosen  in  the  outside  circle   "two 

^^        ^^       ^^  steps"  forward  and  clasps  hands  with  someone 

M^  ^^^  opposite  in  the  inner  circle. 


< 


c  > 


came  to  visit  me,  These  two  circle  in  place  once. 

And  all  for  the  sake  of  my  little  They  slide  to  the  outer  circle  and  take  their 

nut  tree.  place  there. 


The  game  then  begins  again  with  the  one  just  chosen  as  the  new  |    ^"^    ^^  I .    This 

choosing  continues  until  there  is  no  one  left  in  the  inner  circle,  when  the  original  inner 
and  outer  circles  change  place  and  game  continues. 


CHAPTER    IX 

Couple  Dances  and  other  Action  Plays  in  which  the  Formation  is  Composed  of 
Several  Small  Groups.— In  Part  I,  under  the  general  title  of  Class  Conduct,  will  be 
found  a  discussion  of  the  significance  of  the  circle  formation  when  used  in  the  first 
organization  of  the  group;  and  of  the  many  benefits  which  accrue  when  it  is  used  for 
the  teaching  of  classes  of  small  children.  Among  the  many  points  which  recommend  its 
use  is  that  it  enables  each  member  of  the  class  to  act  independently  and  to  execute  indi- 
vidualistic movements  without  regard  to  the  others.  It  also  enables  the  teacher  to  cen- 
tralize the  attention  of  the  class.  As  a  progression  upon  this  activity  of  the  group  as 
a  whole,  we  may  segregate  the  class  into  smaller  groups  of  two,  three,  four,  etc.  For 
other  things  being  equal,  those  dances  and  games  in  which  the  class  is  split  up  into  a 
number  of  groups  are  more  difficult  than  those  which  consist  only  of  individualistic  ac- 
tivity of  one  large  group.  This  rule  requires  some  explanation.  It  must  be  understood 
that  some  couple  dances  are  in  reality  easier  than  the  more  difficult  individualistic 
rhythms  because  of  the  difficulty  of  the  action  itself.  When  a  class  is  thus  broken  up 
into  small  groups  it  is  harder  for  the  teacher  to  attract  and  hold  the  attention  than  when 
the  children  are  acting  in  one  single  circle.  The  teacher  may  easily  be  the  centralizing 
and  directing  force  when  the  grouping  is  a  single  unit,  but  when  the  group  is  broken  up 
into  smaller  parts,  each  part  must  learn  to  work  together  and  be  more  or  less  self  direct- 
ing. The  teacher  frequently  experiences  some  difficulty  when  she  attempts  to  unify  and 
hold  the  control  of  these  separate  groups.  Therefore  as  a  rule,  the  organization  of  a 
group  should  at  first  be  one  single  unit,  then  successive  progressions  may  be  made 
through  groups  of  two,  three,  four,  etc.  That  is,  as  far  as  the  organization  is  concerned, 
couple  dances  and  similar  small  groups  are  an  advance  over  individualistic  action  or  ac- 
tivity of  the  circle  as  a  whole.  And  yet,  we  find,  in  such  a  dance  as  the  "Brownies  and 
Fairies"  which  has  small  circles  of  five,  that  children  can  dance  it  more  readily  than  such 
a  couple  dance  as  "Girls  and  Boys  Come  out  to  Play,"  because  the  action  itself  is  easier 
and  the  figures  less  difficult.  However,  on  the  other  hand,  "Pussy  Cat,  Pussy  Cat"  is 
easier  than  "Puss,  Puss,  Grey  Cat."  It  will  be  seen  then,  that  any  rule  as  to  relative 
advancement  of  different  groupings  must  be  greatly  modified  by  the  actions  which  are 
performed  in  the  dances,  and  that  while  couple  dances  are  simpler  from  the  point  of  view 
of  their  formation,  the  fact  of  whether  they  are,  in  the  last  analysis,  easier  than  dances 
in  which  the  groups  are  larger,  depends  upon  other  elements. 

Couple  formations  markedly  differ  from  each  other  in  simplicity,  from  a  teaching  point 
of  view.  The  most  simple  being  the  one  in  which  the  partners  stand  side  by  side,  facing 
in  line  of  direction.  This  arrangement  best  enables  the  whole  of  the  class  to  see  the  teacher 
The  next  easiest  is  the  single  circle,  partners  facing  each  other,  with  their  sides  to  the 
centre  of  the  circle.  This  formation  permits  of  the  teacher  seeing  all  of  the  children  and 
does  not  admit  of  any  such  confusion  as  to  which  is  partner  and  which  is  neighbor  as  is 
liable  to  occur  when  partners  stand  side  by  side,  facing  the  centre  of  the  circle.  Another 
simple  couple  grouping  is  when  both  partners  face  the  centre  of  the  circle,  one  standing 
behind  the  other.  The  most  difficult  couple  formation  is  the  double  circle,  partners  facing. 
In  this  the  partner  who  stands  with  his  back  to  the  centre  is  neither  able  to  see  the 
teacher  nor  the  rest  of  the  class  and,  therefore,  is  thrown  upon  his  own  responsibility  for 
the  execution  of  his  part  of  the  dance.  Nor  can  the  teacher  see  the  action  of  the  class 
sufficiently  to  be  of  assistance. 

107 


108  RHYTHMIC  ACTION  PLAYS  AND   DANCES 

With  the  possible  exception  of  progressing  forward,  facing  in  lineiof  direction,  all  ac- 
tion in  couple  formation  is  easiest  done  in  place.  Such  games  as  "Pussy  Cat,  Pussy  Cat" 
and  "Bow-wow-wow"  have  been  arranged  with  this  thought  in  view  and  should  be  taught 
before  such  Action  Plays  as  "Ba,  Ba,  Black  Sheep"  and  "Hippity  Hop  to  the  Barber 
Shop"  (when  danced  with  a  change  of  partners).  It  is  possible  to  make  the  teaching  of  a 
change  of  partners  very  easy.  First  teach  the  actions  of  the  change  before  teaching  the 
change  itself.  "Pussy  Cat,  Pussy  Cat"  teaches  the  turn  of  the  partner  in  place.  "Bow- 
wow-wow" teaches  the  change  of  partners,  but  in  place.  "Two  Little  Black  Birds" 
illustrate  the  separation  of  partners  without  the  actual  change  and  confusion  of  both  mov- 
ing away  from  each  other  at  the  same  time.  The  first  dance  to  be  taught  with  a  change 
of  partners  is  "Pat-a-cake."  The  change  is  very  simple,  being  simply  moving  sideward 
to  the  next  partner.  "I  Had  a  Little  Nut  Tree"  in  the  preceding  chapter  has  already 
taught  the  children  this  moving  sideways  in  opposite  directions  of  two  concentric  circles. 
"Ba,  Ba,  Black  Sheep"  has  the  same  change  but  partners  move  forward  instead  of  side- 
ways. "The  Old  Man  in  Leather"  is  a  little  harder  than  "Ba,  Ba,  Black  Sheep"  because 
the  circle  moves  once  around  in  opposite  direction  before  the  change  is  made.  The  change 
of  partners  in  "Hippity  Hop  to  the  Barber  Shop"  is  the  next  advance,  as  circling  in  place 
precedes  the  change  of  partners  and  after  the  circling  the  children  are  usually  confused  at 
first  to  know  which  way  to  go.    In  this  dance  the  circling  is  only  half  way  around. 


Progression  for  Teaching 

Bow-wow-wow. 

Two  Little  Black  Birds. 

The  Little  Pigs. 

Pat-a-cake. 

Three  Little  Kittens. 

Ba,  Ba,  Black  Sheep. 

The  Old  Man  in  Leather. 

Hippity  Hop  to  the  Barber  Shop.     (With  change  of  partners.) 

Twinkle,  Twinkle,  Little  Star,  No.  II. 

Girls  and  Boys,  Come  Out  to  Play. 

Puss,  Puss,  Grey  Cat. 


RHYTHMIC  ACTION   PLAYS  AND   DANCES 

Bo^v-^vo^^-^v()^v 


lU'J 


Mother  Goose 
QiiicMij 


Traditional  Tune 


S3 


-^ — • • # 


i^t 


H h- 


-• 0- 


V    y   _>: 


:l^=5= 


:q_^: 


•-—ah 


1^] 


Bow- wow- wow !  Whose  dog  art  thou?  Lit-tle  Tommy  Tucker's  dog. Bow- wow- wow! 


^t=EJ^iEfz[^^;j^zp^z=j 


y^^^F 


F- 


t 


I-^U- 


:?: 


11 


Formation. — Single  circle,  partners  facing. 


Bow-wow-wow! 
Whose 


Stamp  three  times  (right,  left,  right). 
Strike  right  hand  sharply  against  left. 


dog  art  thou? 


With  a  jerk  point  right  fore- 
finger upward,  raising  it  about 
nose  high. 


Little  Tommy  Tucker's  dog. 


Bow-wow-wow! 


Partners  clasp  hands  and   quickly  circle   in 
place. 

Stamp  three  times  turning  away  from  part- 
ner and  facing  neighbor. 


Repeat  same  with   neighbor,   turning  back  to  partner  on  final   bow-wow-wow.     The 
dance  may  continue  as  long  as  desired,  alternately  dancing  with  partner  and  neighbor. 


no 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 
TWO    LITTLE   BLACKBIRDS 


Mother  Goose 
Allegretlo 


f-A^ — ^— •— * — ^  -Fj^-J^*- 


=15^:^5 


-N- 


^-J^ 


Mae  Rehberg  Scheuerman 

N 


^— ^ 


=S— N 


■^=i^= 


:^=zMl 


^n — ««- 


Two  lit-tle  blackbirds  sitting  on  a  hill,  One  named  Jack  and  tiieoth-er  named  Jill. 


iii^ 


^=:g=g=q 


t 


V— j- 


^— • 


4^«f- 


— 1 
-•- 


-^ 


Ei 


II 


Fly    a  -  way  Jack,  and      fly    a-way,  Jill.     Come  back,Jack,and   come  back,Jill. 


t- 


S^^% 


•— *?- 


:£ 


^ 


Formation. — All   kneeling   in   a   single   circle,    partners    facing    each    other.     The    one 
named  "Jack"  facing  in  line  of  direction,  "Jill"  facing  in  the  opposite  direction. 


Two  little  blackbirds 
sitting  on  a  kill, 


One  named 


Jack 


the  other  named 


Jill. 


^'mE::jiMsSm»^iSi;^ 


Both  sit  still. 


Jack  stands. 


Jack  claps  his  hands  once. 


Jill  stands. 


Jill  claps  hands  once. 


RHYTHMIC  ACTION   PLAYS   AND   DANCES 
Fly  away,  Jack  slides  two  slides  to  his  right. 

Jack,  Jack  claps  his  hands  once. 

fly  away,  Jill  slides  two  slides  to  her  right. 


Ill 


Jill. 


Come  back, 
Jack, 
come  back, 
Jill. 


Jill  claps  her  hands  once. 


Jack  slides  two  slides  to  his  left. 
Jack  claps  his  hands  once. 
Jill  slides  two  slides  to  her  left. 
Jill  claps  her  hands  once. 


This  action  play  teaches  the  somewhat  difficult  action  of  sliding  away  from  and  back 
toward  a  partner.  This  rhythm  makes  this  separation  easy,  as  the  action  is  illustrated 
without  partners  moving  at  the  same  time,  which  is  the  point  in  the  evolution  that  children 
find  confusing. 

The  single  circle  with  partners  facing  is  not  the  only  formation  which  may  be  used. 
This  action  play  may  be  given  as  a  preliminary  drill  to  any  dance  where  the  partners  are 
changed,  in  which  case  the  partners  should  face  and  slide  in  the  direction  used  in  the  dance 
to  be  prepared  for. 


112 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 
THE   LITTLE   PIGS 


Mother  Goose 
Adapted 


^I|5 


^— ^— ^ 


—I — h 

-• — •- 


^Em 


::f-=:^ 


0 — ,=j — H, » — •- 


^p 


This    Ht-  tie  pig-gie  went  to  mar  -  ket,        This     ht-tle    pig-gie  stayed  at  home ; 


d=? 


_^_ 


::4: 


I 


I 


-(S- 


^ 


■-s*- 


ittiz 


:a=1^ 


:t: 


-i5>- 


This      lit  -  tie  pig-  gie  had  some  roast  beef,And  this    lit-  tie  pig-gie  had  none. 


i!S 


gfc 


-^- 


j- 


:i 


II 


-4' 


-4- 


iOl- 


t- 


#- 


i?=t=- 


:ti: 


-Ja- 


:U: 


:^ 


E 


^-Ee* 


These       lit  -    tie      pig  -  gies    cried   out     pee  -  wee  -  wee,        pee  -  wee-  wee, 


^ 


--^z 


♦      #      ?: 

/ Ki' ^- 


♦     #     ?: 


*^    »        • — • ^ j—\—^ *      J ^    '^      ^ — M 


And        these       lit  -  tie      pig  -  gies      ran     off    home.       Pee  -  wee  -  wee. 


#       ♦ 


-h h 


=^= 


-h b P- 


ii 


Formation. — A  single  circle  facing  inward.     Some  child  is  selected  to  start  the  dance. 


This  little  piggie  went  to  market, 


The  child  selected  to  start  the  dance  runs 
forward  four  very  short  steps  and  stamps 
twice  (right,  left)  on  "market." 


RHYTHMIC  ACTION   PLAYS  AND    DANCES 
This  little  piggie  stayed  at  home; 


118 


\ 


/^ 


\/ 


^t 


\/ 


The  one  next  to  the  left  in  the  circle  runs 
backward  four  very  short  steps  and  stamps 
twice  (right,  left). 


This  little  piggie  had  some  roast  beef, 


And  this  little  piggie  had  none. 


The  next  to  the  left  runs  forward  and  stamps 
twice,  the  same  as  the  piggie  who  went  to 
market. 

The  one  next  to  the  left  runs  backward  and 
stamps  twice,  the  same  as  the  piggie  who 
stayed  at  home. 


This  rhythm  is  used  to  count  off  the  class  and  arrange  them  in  partners  ready  for  the 
couple  dances.  The  above  verse  (the  first  eight  measures)  is  repeated  over  and  over  until 
the  whole  class  has  been  counted  off  and  an  outer  and  inner  circle  has  been  formed.  The 
class  then  faces  in  line  of  direction. 


These  little  piggies  cried  out 
pee-wee-wee,  pee-wee-wee, 


And  these  little  piggies  ran  off  home. 
Pee-wee-wee. 


The  outside  circle  takes  a  step  forward  while 
the  inside  circle  at  the  same  time  takes  a  step 
outward,  which  groups  the  class  into  couples, 
the  piggies  who  went  to  market  with  the  pig- 
gies who  stayed  at  home,  and  the  piggies  who 
had  roast  beef  with  the  piggies  who  had  none. 

Partners  clasp  hands  and  run  forward  around 
circle  in  line  of  direction. 


The  run  may  be  continued  as  long  as  desired  by  repeating  the  last  four  measures. 


114 


RHYTHMIC   ACTION   PLAYS   AND   DANCES 
PAT-A-CAKE 


Mother  Goose 
Moderato 


^i?^i^ 


t: 


-P — ^ — «f- 


# — r 


:i^fc 


Ly 


EE 


Adapted 


A-^ 


— r 


Pat  -  a -cake.pat  -  a  -  cake.ba  -   ker'sman,     Make  me     a   cake  as  fast  as  you  can ; 


Presto 


rS^ 


N-^N- 


-N— N-rH^- 


d — •- 


-H— ^ — !■ 


izi:?=t 


•~P 


— N 


f-E-te-&=:t=i: 


^-^^— ^- 


H h^ 1 


-^—^- 


l^-hb— fc^— ^' 


•—^—•—^ 


Roll  it  and  prick  it  and  mark  it  with  B,     And  toss  in  the  o-  ven  for  ba-  by  and  me. 


g^^g=^ 


=ti 


"t- 


-^-r — r^t — r^ — " 


Formation. — A   double  circle,  partners   standing   opposite  each    other.     Outside  circle 
standing  facing  inward,  and  inside  circle  facing  outward. 


Pat-a-cake, 
pat-a-cake, 
baker's  man, 


Clap  partner's  hands  three  times. 


Clap  own  hands  three  times. 


Curtsy. 


RHYTHMIC  ACTION  PLAYS  AND   DANCES  IIT) 

Make  me  a  cake  Hold  left  arm  in  circle  as  if  holding  a  bowl 

and  go  through  the  action  of  stirring  a  cake, 
circling  right  hand  three  times  away  from  body 
over  the  imaginary  bowl. 

as  fast  as  you  can;  Stir  cake  in  opposite  direction;  that  is,  toward 

body. 

lloll  it  Roll  right  hand  twice  over  left  away  from 

body. 

avd  prick  it  Point  right  forefinger  into  left  palm. 

and  mark  it  Slap  left  fist  with  right  palm. 

yjith  B,  Touch  together  the  tips  of  all  the  fingers  and 

a  letter  B  will  thus  be  made  by  the  forefingers 
and  thumbs. 

And  toss  in  the  oven  Toss  both  arms  up  at  the  side  to  the  right. 

for  baby  and  me.  Swing  arms  down  and  leap  sideways  right, 

thus  changing  partners. 


Repeat  as  many  times  as  desired  or  until  the  children  are  back  to  their  original  part- 


ners. 


116 


RHYTHMIC   ACTION   PLAYS  AND   DANCES 
THREE    LITTLE    KITTENS 


Old  Nursei-y  Rhyme 
AUegrello 


:^^iSzI^=::^: 


=i 


N- 


-^        -^ 


There  were  three     lit   -  tie      kit  -  tens    Put       on 


their    mit  -  tens     To 


©M^ 


Er^^=| 


Slqt 


-/  — 


-iS>- 


S^: 


tE*^ 


■&- 


H 


eat        some  Christ  -  mas   pie. 


Mew,  mew,  mew,  mew,  mew,mew,mew. 


^ 


:^- 


Formation. — Standing  in^a  triangular  formation,  i.e.,  in  groups  of  three  facing  centre 
of  group. 


1.  There  were  three  little 
kittens 
Put  on  their  mittens 


To  eat  some  Christmas  pie. 
Chorus. 

Mew,  mew,  mew,  mew,  mew, 
m£w,  mew. 


Hold  right  hand  forward  and 
pull  on  an  imaginary  mitten 
with  the  left  hand. 


Pull  on  the  left  mitten. 


Turn  around  in  place  to  right  with  six  leaps, 
bringing  the  heels  together  on  last  mew;  i.e., 
jump  to  right  foot,  then  to  left  foot  and  con- 
tinue alternating  right  and  left  until  turned. 
The  same  chorus  is  used  after  each  verse,  ex- 
cept the  music  and  leaps  express  the  emotion 
indicated  in  the  preceding  verse. 


RHYTHMIC   ACTION   PLAYS   AND   DANCES  117 

2.  These  three  little  kittens,  Look  over  right  shoulder  to  find  mittens. 


They  lost  their  mittens 


Look  over  left  shoulder  to  find  mittens. 


And  they  began  to  cry. 


Put  fists  in  eyes. 


Chorus. 

Mew,  mew,  mew,  mew,  mew, 
mew,  mew. 


Sadly  turn  in  place  with  six  walking  steps, 
holding  fists  to  eyes. 


3.  Go,  go,  naughty  kittens. 


Shake    right    forefinger    toward 
floor  at  right  side. 


And  find  your  mittens 


Shake  left  forefinger  toward  floor  at  left  side. 


Or  you  shan't  have  any  pie. 

Chorus. 

Mew,  mew,  mew,  mew,  mew, 
mew,  mew. 


Shake  right  forefinger  toward  floor  at  right 
side. 


Put  fists  in  eyes  and  turn  in  place  with  six 
melancholy  skips. 


118  RHYTHMIC   ACTION   PLAYS   AND   DANCES 

Jt.  These  three  little  kittens  Hold  up  right  hand  to  show  mitten. 


They  found  their  mittens 


Hold  up  left  hand  to  show  mitten. 


And  joyfully  they  did  cry. 


Shake  hands  with  delight. 


Chorus. 

Mew,  mew,  mew,  mew,  mew, 
mew,  mew. 


Turn    in    place    with    joyful    leaps,    shaking 
mittens. 


5.  Oh!  granny  dear. 
Our  mittens  are  here, 
Make  haste  and  cut  the  pie. 


Hold  an  imaginary  pie  in  the  left  hand  and 
cut  it  with  three  slicing  movements  of  the 
right. 


Chorus. 

Purr-rr,  purr-rr,  piirr-rr-rr. 


Turn  in  place  with  easy  leaps,  purring  con- 
tentedly. 


6.  These  three  little  kittens. 


Hold  up  right  hand  and  look  at  it  with  aston- 
ishment. 


They  soiled  their  ynittens. 


Hold  up  left  hand  and  look  at  it. 


While  eating  Christmas  pie. 


Hide  hands  behind  back. 


Chorus. 

Mew,  mew,  mew,  mew,  mew, 
mew,  mew. 


Turn  with  six  jerky  steps,  mewing  with  agi- 
tation and  distress. 


7.  These  three  little  kittens, 
Then  washed  their  mittens, 


Rub  mittens  on  an  imaginary  wash  board. 


RHYTHMIC   ACTION   PLAYS   AND   DANCES 
And  hung  them  up  to  dry. 


119 


Pin  mittens  on  line  with  two  imaginary  clothes 
pins. 


Chorus. 

Mew,  mew,  mew,  mew,  mew, 
mew,  mew. 


Turn  with  six  quick  leaps,   mewing  with  a 
busy  expression. 


8.  These  three  little  kittens, 
Then  ironed  their  mittens. 


Hold  out  left  hand,  palm  up,  to  represent 
ironing  board;  and  pass  palm  of  right  hand 
over  it,  back  and  forth,  to  imitate  motion  of 
ironing. 


And  all  sat  down  close  by. 


Sit  down  and  raise  right  arm  and  rub  it  over 
face  as  if  washing  face,  purring  contentedly. 
Same  for  chorus. 


or 


And  smelted  a  mouse  close  by. 


All  turn  and  form  single  circle,  facing  in  Une 
of  direction. 


Chorus. 

Mew,  mew,  mew,  mew,  mew, 
mew,  mew. 


Hurry  off,   moving    around   circle    after  an 
imaginary  mouse,  by  long  leaps. 


120 


RHYTHMIC   ACTION   PLAYS   AND    DANCES 
BA,    BA.    BLACK    SHEEP 


Mother  Goose 
Modern  to 


Mae  Rehberg  Scheuerman 


)~,  \}    H' 

m               m 

1 — s- ^ — V — f^ — ^; 

..rr       -7       -^ 

-^ 

W^r 

~p=z|=t 

-^ — • — J — • — f — 

^=^J_p_I 

— M — 

Ba, 

R^-fj^ m— 

Ba,  Black  Sheep, 

have    you     a  -  ny  wool? 

Yes,      sir,   Yes, 

F-   f    r- 

sir, 

-f   1 

W^^J^ 

— 1- -• 1 

-4-                    i    ^ 

-  A •— 

— 1 

-<5>- 


:t?t 


-A— P- 


-^ 


:^^=r3f^E 


tt 


three   bags     full; 


One      for    the  mas  -   ter,     and  one      for    the  dame,And 


S^iiE 


=1= 


t 


:P=J: 


c-eZ. 


---^^=W-- 


vtfc 


-^= 


-A- 


:;?= 


^ 


:i 


-(ff- 


none        for         the       lit     -     tie      boy       who     cries          in         the      lane. 
-_ , ^ r-^ # g- 


SS=Ef; 


-^: 


t: 


-1-- 


-^- 


H 


Formation. — A  single  circle,   partners   number    I    and    II    standing   facing   each   other 
with  hands  on  hips. 

Partner  number  I  standing  with  right  side  to  centre  of  circle. 
Partner  Number  II  standing  with  left  side  to  centre  of  circle. 


Partner  I. 

Ba,  Ba, 


Stamp  twice  (right,  left). 


Black  Sheep, 


have  you  any  wool? 


Clap  twice. 


Bow  and  hold  hands  forward, 
palms  up,  as  if  to  receive  wool. 


RHYTHMIC   ACTION  PLAYS    AND  DANCES 


121 


Partner  II. 


Yes,  Sir, 
Yes,  Sir, 


three  bags  full; 


Stamp  right  twice. 
Stamp  twice  left. 


'"mm. 


•^ 


Hold  up  right  hand  and  show 
three  fingers  full. 


One 


for  the 


master, 


Clap  own  hands. 


Clap  partner's  left  hand  with 
the  right  hand. 


122  RHYTHMIC  ACTION   PLAYS   AND    DANCES 
and  one  Clap  own  hands. 

for  the 
dame,  Clap  partner's  hand  with  left. 


And  none  for  the  little 


Raise  hands  forward  waist  high, 
palms  upward,  and  then  separate 
the  hands  sideways,  making  a 
gesture  to  denote  having  nothing. 


Partners  I  and  II. 


who  cries  in  the 
lane. 


With  hands  on  hips,  partners 
skip  past  each  other  and  on  to 
the  next  partner. 


Repeat  the  whole,  changing  partners  with  each  i-epetition,  until  all  are  back  to  their 
original  partners. 


RHYTHMIC   ACTION   PLAYS  AND   DANCES 
THE    OLD    MAN    IN    LKATHKR 


123 


Nursery  Rhyme 
Moderato 


^ 


ft:=^^-^t^^^'^^ 


Mae  Rehberg  Scheuerman 


rH ^- 


d: 


S-^ 


If: 


9^ 


One  mist  -  y,moist  -  y      morn 


-F 


ing  When  cloud-  y  was     the     weath  -  er,       I 


:t: 


=t= 


■I — 


^^=?= 


::1= 


t: 


:t 


?= 


V 1 


chanced  to  meet     an    old 


3^^ 


*     * 


IS 


man  Cloth  -  ed     all 


P 


._, 1 1^ — i^-*. 


tr- 


in  leath  -  er. 


And 


:t^=, 


jfL^e 


:t: 


t* 


( 
1 


:p: 


£ 


-•/- 


—  H 


he      be  -  gan      to    com  -  pli  -ment,  And      I 

— ^ *i "F ■' r  • f- 1 — 


be  -  gan      to        grin. 


t: 


Oh, 


r- 


r^=P= 


N — V ii 


-f 


9^ 


how  do   you  do!     Oh,  how  do  you  do!    Oh,  how  do  you  do       a  -  gain! 


-F- 


:^z^ 


»— •- 


:?^- 


atzzjt 
I 


-b^ 


=i= 


P= 


-f= 


shook    his  hand      at    part 


' ^— F Is' \ toe- 


ing, Though  cloud-y    was    the  weath 


er. 


4>- 


t- 


Jt  't 

=^=^ 


Oh, 


124 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 


l&- 


:?=F 


-V- 


— "— e 


:^i=^: 


-« — ± 
—I •- 


m\ 


fare     thee   well!     Oh,    fare  thee  well!     Oh,    fare     thee  well        a  -   gain! 


9^3= 


'^^ 


x:i 


-V— hs^^ 


;b 


Formation. — Two   concentric   circles,    the   outside   circle    facing    in    line   of    direction, 
inside  circle  facing  in  opposite  direction. 


One  misty,  moisty  morning 
When  cloudy  was  the  weather, 
I  chanced  to  meet  an  old  man 
Clothed  all  in  leather. 


Both  circles  march  forward  around  the  circle 
in  the  direction  they  are  facing. 


And  he  began  to  compliment. 


Partner  in  the  inside  circle  elaborately  bows 
by  placing  hands  on  chest  and  bending  body 
well  forward  at  waist. 


And  I  began  to  grin. 


Partner  in  the  outside  circle  makes  the  same 
elaborate  bow. 


Oh,  how  do  you  do! 


Partner  on  inside  bows  head  quickly. 


Oh,  how  do  you  do! 


Partner  on  outside  bows  head  quickly. 


Oh,  how  do  you  do  again! 


Partner  on  inside  bows  quickly  again. 


RHYTHMIC   ACTION   PLAYS  AND  DANCES 


125 


I  shook  his  hand  at  parting. 


Partner  on  the  inside  shakes  with  his  right 
hand  the  left  hand  of  partner  on  the  outside. 


Thmigh  cloudy  was  the  weather. 


Partner  on  the  inside  shakes  with  his  left  hand 
right  hand  of  partner  on  the  outside. 


Oh,  fare  thee  well! 
Oh,  fare  thee  well' 


Partners   shake    right    hands   and    hold    the 
grasp. 

Partners  shake  left  hands,  clasping  them  over 
their  right  hands  and  hold  the  grasp. 


Oh,  fare  thee  well  again! 


in! 


Partners  shake  both  hands  as 
they  are  held  clasped  across 
each  other. 


Turn  as  before  for  marching.  March  around  and  stop  in  front  of  a  new  partner  who  is 
next  to  his  previous  partner.  The  game  is  repeated  over  and  over  until  all  are  back 
to  their  original  partners. 


126  RHYTHMIC   ACTION   PLAYS  AND   DANCES 

TWINKLE,    TWINKLE,    LITTLE    STAR,    No.    II 


\ 


Nursery  Rhyme 
Lento 

14 


J.  W.  Elliott 


::i— -1 


:4 


::]: 


Twin  -  kie,     twin  -  kle,       lit    -   tie        star,      How       I       won  -  der    what    you 


lllf 


t=1- 


dim. 


:4: 


^ 


^=i 


-fS>-  -0-       •0-        -0-     kZ-       ■»■        • 


If 


:ri^: 


±eeE^ 


-t 


^= 


^iS"- 


i 


:t=^d 


1 


1^=: 


:^= 


:^=4: 


t- 


::i 


-(51- 


are,      Up     a  -  bove   the  world    so      high,   Like     a      dia-mond     in     the      sky. 


k^^- 


I 


I 


P 


i 


r 


iS: 


^-=^t- 


-4- 


:t=t- 


-(©- 


H 


-g- 


-I 1 r^lS i2(=2- 


-&- 


t- 


/2 


F= 


-^- 


[I 


Formation. — A    single   circle,    partners   standing   facing   each    other  and   clasping  both 
hands. 


1.  Twinkle,  twinkle, 


Raise  the  clasped  hands  high 
above  head  and  raise  on  the 
toes,  then  lower  the  hands 
and  heels.  Repeat  same  once. 
This  raising  and  lowering  may 
be  called  "twinkling." 


RHYTHMIC   ACTION   PLAYS  AND   DANCES 


127 


2.  little  star, 


Raise  outside  hands  and  "wring 
the  dish  rag,"  turning  outward. 


8.  How  I  wonder 


"Twinkle"  twice;  that  is,  repeat  1. 


Jf.  what  you  are, 


"Wring  the  dish  rag,"  turning  inward;  that  is, 
same  as  2,  except  turn  under  inside  clasped 
hands. 


5.  Up  above 

6.  the  world  so  high. 


"Twinkle"  twice. 


"Wring  the  dish  rag"  turning  outward,  but 
also  change  places  with  partner  by  taking  one 
step  outward.  Face  outward,  step  sideways 
away  from  partner,  then  turn  toward  partner 
one  step  sideways  toward  centre  of  the  circle. 
This  will  bring  all  facing  in  the  opposite  di- 
rection from  what  they  were  before. 


7.  Like  a  diamond 


"Twinkle"  twice. 


8.  in  the  sky. 


Start  to  "wring  the  dish  rag"  by  turning  under 
inside  hands  and  then  turning  back  to  back. 
Then  drop  hands  and  face  a  new  partner, 
that  is,  "wring  the  dish  rag"  half  way  and 
stop. 


12S 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 


Repeat  the  whole  with  the  new  partners  and  continue  the  dance,  changing  partners 
around  the  circle,  until  the  dancers  are  back  to  their  original  partners. 


When  teaching  this  dance,  first  teach  "wringing  the  dish  rag"  without  the  music; 
when,  after  trying  it  a  few  days  and  the  trick  is  acquired,  the  "twinkle"  may  be  easily 
added  and  the  whole  gradually  taught  with  the  music. 


RHYTHMIC   ACTION   PLAYS   AND   DANCES 
GIRLS    AND    BOYS,   COME    OUT    TO    PLAY 


129 


Mother  Goose 


„         Allegretto 


-± 


i 


:fa 


3*1 


Girls      and     boys,     come    out        to      play,     The     moon   does  shine      as 

— 0 1 — 0 


^=f: 


?: 


.i-=* 


Sf 


9ii 


bright      as 

I 


I- 


-G>- 


^ 


--^: 


i 


day;     Leave     your 


sup  -  per      and      leave     your      sleep, 


-fS- 


* 


^ 


IT — ii=S- 


-->- 


::?^ 


Come     to     your   play  -  fel  -  lows     in      the   street.  Come   with    a  whoop    and 


gLSp 


* 


^i#  -ft 

^     ^      1 

1 

^"^~ 

\- 

— r 

i±^- 

N N 

— 0 • • 

— fs— 
Come 

— 1 

&> &> f^ ^ ^ 

4 

— 1     - 

^ 



come 

with      a      call, 

with     a      good    will      or 

^ — -^ 

not 

■0- 

r» — 

at 

all. 



:^ 


^t^^EE^^ 


=i= 


-4- 


—I 1 1^ V— , 1- H 1 „ 

•      *      * — -—Vd — ^^-^— H 


Up     the      lad-der  and  down  the    wall,    A      pen  -  ny    loaf    will    serve  us      all. 


t- 


— I — 


I 


-&- 


1 


130  RHYTHMIC  ACTION  PLAYS  AND   DANCES 

Formation. — A  double  circle,  partners  facing  and  holding  inside  hands  clasped  high. 


Girls  and  boys,  come  out  to 

play, 

The  moon  does  shine  as  bright 

as  day; 

Leave  your  supper  and  leave 

your  sleep, 

Come  to  your  playfellows  in 

the  street. 


"Face  to  face  and  back  to 
back";  i.e.,  starting  with  the 
outside  feet,  slide  two  slides  in 
line  of  direction,  facing  partner, 
then  swing  the  arms  down  be- 
tween and  up  again,  at  the 
same  time  turn  back  toward 
partner  and  slide  two  slides 
sideways  in  line  of  direction 
with  back  toward  partner. 
Continue  alternating  "face  to 
face  and  back  to  back." 


Come  with  a  whoop  and  come  with  a  call, 


Right  arm  hook  with  partner,  circling  in  place 
with  step  hop. 


RHYTHMIC   ACTION   PLAYS   AND    DANCES 


131 


Come  with  a  good  will  or  not  at  all. 
Up  the  ladder  and 


Left  arm  hook  with  partner,  circling  in  place 
with  step  hop. 

Standing  sHghtly  to  the  left  of  partner,  clasp 
neighbor's  right  hand,  all  raise  clasped  hands 
high  and  leap  slightly  forward  on  to  right  foot. 


down  the  wall, 


Step  back  on  left  foot. 


A  penny  loaf  will  serve  us  all. 


Let  go  of  neighbors'  hands.  Part- 
ner on  the  inside  step  hops  under 
arm  of  the  partner  on  the  outside 
and  moves  on  in  line  of  direction, 
changing  partners  to  the  next 
ahead.  Finish  with  the  new  part- 
ners facing,  ready  to  clasp  hands 
and  repeat  whole. 


132  RHYTHMIC   ACTION   PLAYS  AND   DANCES 

PUSS,  PUSS,  GREY    CAT 
j:  Allegretto 


'M 


A-^r 


Fie, 


Fo, 


^ 


^ 


^- 


--r 


T 


Fum!        Our     cat        he  played     on      the      drum,     While 


SEJzra^^ 


^S 


-<5^ 


-G- 


-Sh- 


% 


^ 


:^: 


-(©- 


-?- 


^— t^-d- 


-N- — K-H- 


:i=tzf_ 


■»-» — »- 


-»-»- 


^^F^ 


J^ 


a^^^ 


.^^ 


four  pus-sy  cats      they  danced  a-round  And  made  a  noise   like     thun-der,  Whi2e_ 


v-=^- 


ifeP: 


---X 


-&- 


=1= 


-^ — 


— ^ — ^— ^— ^ '"T ^ •" 


four    pus-sy  cats      they  danced  a-round  And  made   a    noise    like   thun-der. 


•— (©-r- 


a 


* 


Allegro 


WEii 


^-* 


Puss,      Puss, 

Lerjijiero       ^ 


p F H p-^ — t- 


b: 


Grey 


Ai 


r- 


Cat,       Where  were  you      the       oth    -  er     night? 

ZIZ=|I== 


'^- 


t:- 


fe 


d 


^— ^— ^- 


=N-=N 


-• — • — •- 


— I- 


i 


^=:t 


'^— fe~:N- 


-^ 


-K— N 


itritzjdz. 


I        sat  be-hind  the    gar  -  den  door, Where   I  have  nev  -  er    been    be  -  fore. 


1 


g 


:t: 


4 


^ 


RHYTHMIC  ACTION   PLAYS  AND   DANCES  133 

Formation. — 


1 


A. 


-     W 


I  A   double  circle.     Inside  circle  numbered 

^  3's  and  4's,  and  outside  circle  numbered  I's 

V      ^  and  2's,  numbers  1  and  3  being  partners,  and 

^                                       *■  numbers  2  and  4  being  partners. 


O     - 


N 


•         St 


3      A 
I         ^ 


Figure  I. 


Face  in  circles  of  four;  i.e.,  numbers  1-2-3-4  in  a  group.     Number  I's  facing  number 
4's,  number  3's  facing  number  2's. 

Fu,  Fo,  Fum!    Our  cat  he  Clap  hands  to  music  and  reach  them  well 

played  on  the  drum,  forward  as  if  beating  on  either  side  of  a  drum. 

While  four  pussy  cats  they  danced  around     Clasp  hands  in  circles  of  four  and  slide  side- 

And  made  a  noise  like  ways  right. 

thunder.  Stamp  twice  (left,  right). 

While  four  pussy  cats  they  danced  Slide  sideways  left. 
around  And  made  a  noise  like 

thunder.  Stamp  twice  (right,  left). 


Figure  II. 


Partners  face  each  other.     Outside  circle    are    the    questioners    (I's    and    2's),    inside 
circle  the  "Puss,  Puss,  Grey  Cats"   (3's  and  4's). 


Puss,  Puss,  Questioners  stamp  twice  (right,  left). 

Grey  Cat,  Questioners  clap  twice. 


134 


RHYTHMIC    ACTION  PLAYS  AND   DANCES 


Where  were  you  the 
other  night? 


Questioners  place  right  elbow 
on  back  of  left  hand  and 
shake  right  forefinger  at 
partner  in  time  to  the  music. 


I  sat  behind  the  garden 
door,  Where  I  have  never 
been  before. 


Figure  III. 


Repeat  Figure  I. 


"Puss,  Puss,  Grey  Cat" 
kneels  on  right  knee  while 
questioner  jigs  forward  and 
around  his  partner. 


Figure  IV. 

Repeat  Figure  II  with  inside  circle  taking  the  part  of  the  questioner  and  outside  circle 
taking  the  part  of  "Puss,  Puss,  Grey  Cat." 


CHAPTER.  X 

Miscellaneous  Action  Plays. — A  number  of  games  have  been  collected,  to  form  this 
group,  which  have  no  direct  relation  to  the  progressions  developed  in  the  preceding 
chapters.  They  may  be  given  to  the  children  at  any  time  the  teacher  may  desire  or 
when  she  considers  that  the  class  has  acquired  the  ability  to  appreciate  and  execute 
them. 


The  Fairy  Ship. 

Little  Boy  Blue. 

The  Spider  and  the  Fly. 

Mistress  Mary. 

The  Elephants'  Dance. 

Simple  Simon. 

Humpty  Dumpty. 

Peter  Piper  Says  Please. 

Hey  Diddle  Diddle. 

Poor  Dog  Bright. 

Bye  Baby  Bunting. 

Blossoming  Flowers. 


135 


136 


RHYTHMIC   ACTION   PLAYS  AND   DANCES 
THE    FAIRY    SHIP 


(A  GAME) 


Old  Nursery  Rhyme 

a  k    P  Moderato 


Traditional 


it=i: 


t 


-p- — • — I*- 


3S 


i*?-- 


3=^5^=^ 


1.  I      saw    a      ship      a    sail    -    ing,      A  sail  -  ing  on      the      sea,  And 

2.  The   four-and-  twen  -  ty    sail    -    ors  That  stood  between  the      decks,      Were 


M 


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oh!     it    was      a  -   lad   -  en   With  pret  -     ty  things  for       me.         There  were 
four  -  and-twen  -  ty  white    mice  With  rings      a  -  bout  their      necks.  The 


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com  -  fits     in      the      cab    -     in,     And     ap  -  pies    in      the      hold;     .     .  The 
cap  -  tain  was       a    duck,  a  duck,With  a  jack  -  et      on      his      back,     .     .  And 


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sails   were  made     of       sat    -     in,  And  the  mast  was  made     of         gold, 
when    the    fai   -   ry    ship  set  sail.     The     cap  -  tain   he      said    "Quack." 


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RHYTHMIC  ACTION  PLAYS  AND   DANCES 


137 


This  game  may  be  played  either  in  a  Kindergarten  with  the  chairs  arranged  in  a 
circle  or  in  a  school  room  with  desks. 

In  the  Kindergarten  the  children  march  around  serpentining  in  and  out  among  the 
chairs  with  an  odd  one  in  the  centre  as  Captain  Duck.  At  the  end  of  the  third  verse  the 
Captain  cries  "quack"  and  rushes  to  get  a  seat;  the  odd  one  left  without  a  seat  then 
becomes  the  Captain.  In  order  to  make  the  time  indefinite,  the  Captain  may  wait  a 
brief  time  after  the  singing  has  ceased  before  saying  "quack,"  during  which  interval  the 
children  must  continue  to  march. 

In  a  school  room  the  children  serpentine  up  and  down  the  aisles. 


138 


RHYTHMIC   ACTION   PLAYS  AND   DANCES 


LITTLE    HOY    BLUE 

One  of  the  players,  who  is  chosen  to  be  "Little  Boy  Blue,"  goes  to  one  side  and  lies 
down  pretending  to  be  asleep  under  a  haystack.  The  rest  of  the  players,  who  are  the 
cows  and  the  sheep,  run  up  and  call  "Little  Boy  Blue,  come  blow  your  horn,  the  sheep 
are  in  the  meadow,  the  cows  in  the  corn."  This  awakens  "Little  Boy  Blue"  and  he 
jumps  up  and  chases'the  cows  and  sheep  until  he  tags  someone.  "Little  Boy  Blue"  takes 
the  one  he  has  tagged  back  to  the  haystack  and  then  "Little  Boy  Blue"  joins  the  other 
players  and  becomes  a  cow  or  sheep.  The  game  begins  again  as  before  with  the  one  who 
has  just  been  caught  acting  as  "Little  Boy  Blue." 


THE    SPIDER    AND    THE    FLY 


A  spider  web  is  made  by  the  players  who  stand  in  a  circle  with  their  clasped  hands 
held  high.  One  of  the  players,  a  spider,  is  inside  the  circle  and  another  player,  the  fly, 
is  outside  the  circle.  The  game  begins  by  the  spider  prancing  around  coaxing  the  fly  to 
enter  his  web  by  calling,  —  "Will  you  walk  into  my  parlor,  pretty  fly,  pretty  t\y,  will  you, 
will  you,  walk  in?"  The  fly  is  allowed  to  enter  the  circle,  but  as  soon  as  he  enters  the 
spider  darts  out  of  the  circle  and  the  players  immediately  lower  their  arms  to  prevent 
the  fly  from  escaping.  The  spider  then  prances  around  on  the  outside  of  the  circle  tanta- 
lizing the  fly  with  "Will  you  walk  out,  pretty  fly,  pretty  fly,  will  you  walk  out?"  The 
fly  tries  to  escape  by  breaking  through  the  web  (clasped  hands)  or  by  crawling  out  under 
or  over.  When  the  ffy  escapes  she  must  catch  the  spider,  who  then  becomes  the  fly,  the 
former  fly  taking  her  place  in  the  circle.  A  new  spider  is  chosen  and  the  game  proceeds 
as  before.  Should  the  fiy  not  break  out  of  the  web  or  catch  the  spider,  as  occasionally 
happens,  a  new  spider  may  be  chosen  and  the  previous  spider  becomes  the  fiy. 


RHYTHMIC   ACTION   PLAYS   AND    DANCES 


139 


MISTRESS    MAllY 


Mother  Goose 

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J.  W.  Elliott 

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-V ^ ' ^^-^ • ^ # — #^^^  _ 

cock    -    le-shells    and      sil    -    ver     bells  And  pretty  maids  all       in      a      row. 


A  group  of  little  girls  chooses  one  of  their  number  to  be  "Mistress  Mary."  "Mistress 
Mary"  then  selects  some  spot  for  her  garden  where  she  kneels  down.  The  rest  of  the 
players  dance  up  to  her  and  call,  "Mistress  Mary,  quite  contrary,  how  does  your  garden 
grow?"  "Mistress  Mary"  answers,  "With  cockle-shells  and  silver  bells  and  pretty  maids 
all  in  a  row,"  at  the  same  time  "Mistress  Mary"  jumps  up  and  chases  the  rest  of  the 
players.  When  she  catches  one  she  takes  her  back  to  the  garden  and  they  both  kneel 
down  and,  after  the  verse  is  sung  a  second  time,  the  two  start  out  after  the  other  players. 
Those  they  catch  take  their  place  in  "Mary's"  garden.  This  goes  on  over  and  over  until 
all  the  players  are  in  the  garden  and  there  are  no  more  to  be  caught. 


140 


RHYTHMIC  ACTION  PLAYS  AND    DANCES 
THE   ELEPHANT'S    DANCE 


Although  music  and  dancing  ai-e  so  closely  related  that  it  is  difficult  to  disassociate 
the  two,  however,  paradoxical  as  it  may  seem,  rhythmic  accent  can  often  best  be  recog- 
nized when  the  sound  of  the  foot  tapping  on  the  floor,  or  the  clap  of  the  hands  is  the 
only  accompaniment.  Music  helps  the  child  to  learn  to  march,  but  as  a  progression  the 
assistance  of  the  music  should  be  withdrawn.  Marching  without  music  forces  the  child 
to  keep  in  time  by  depending  upon  his  own  rhythmic  sense  and  that  of  the  class,  communi- 
cated to  him  by  the  sound  of  the  foot  falls.  To  call  the  child's  attention  to  the  sound  of 
the  tramping,  the  teacher  may  tell  the  story  of  "  Toomai  of  The  Elephants"  from  Kip- 
ling's "First  Jungle  Book."  The  children  may  be  asked  to  imagine  they  are  these  big, 
soft-footed  animals  with  no  hard  hoofs  to  stamp.  Stress  should  be  laid  on  the  fact  that 
the  elephants  had  no  music  but  kept  in  time  by  the  steady  sound  of  the  tramp,  tramp,  of 
many,  many  feet.  What  the  elephants  really  did  was  to  make  their  ball  room  by  marking 
time  altogether  for  an  interval,  then  marching  forward  a  little  way  and  marking  time 
again.  This  story  will  give  the  child  an  immediate  interest  in  the  rather  uninteresting 
action  of  marking  time  and  marching  without  music,  and  the  element  of  play  which  it 
introduces  will  focus  the  attention  upon  the  points  which  it  is  desired  to  impress  upon  the 
class 


Mother  Goose 
n         Not  too  fast 


m 


SIMPLE    SIMON 

Mae  Rehberg  Scheuerman 

A— — r-riV N— ^  —^ \- 


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Sim  -  pie      Si  -  mon  went     a  -  fish  -  ing  for    to   catch  a     whale. 


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all  the  wa-ter  he  could  find  was  in  his  mother's  pail.        Sim-pie  Si-mon  met  a  pieman 


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RHYTHMIC  ACTION   PLAYS   AND    DANCES 


141 


-J N 


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go-ing  to  the  fair,      Said  Simple  Simon  to  the  pieman," Let  me  taste  your  wares?" 


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Said  the   pie  -  man  to   Sim-pie     Si  -  mon,"Show  me  first  your  mon-ey." 


Said 


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Sim  -  pie   Si  -  mon     to      the    pie  -  man, "Deed  I     have    not      a  -  ny." 


w 


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Formation. — A   single   circle  facing   inward.     One  of  the  players  chosen  to  be  Simple 
Simon  is  on  the  outside  of  the  circle. 


Simple  Simon  went  a-fishing 
for  to  catch  a  whale, 
But  all  the  water  he  could  find 
was  in  his  mother's 


Simple  Simon  runs  around  the  circle  on  the 
outside. 


pail. 


Simple  Simon  taps  someone  on  the  back  who 
becomes  the  pieman. 


Simple  Simon  met  a  pieman 
going  to  the  fair, 


Simple  Simon  continues  to  run  around  the 
circle  in  the  same  direction,  but  the  one  he 
has  tagged  runs  around  the  circle  in  the  op- 
posite direction  until  he  meets  Simple  Simon. 


142 


RHYTHMIC  ACTION   PLAYS  AND   DANCES 


Said  Simple  Simon  to  the  pieman, 
"Let  me  taste  your  wares'!" 


Simple  Simon  holds  his  right 
hand  out  toward  the  pieman. 


Said  the  pieman  to  Simple  Simon, 
"Show  me  first  your  money." 


The   pieman   holds   his   right 
hand  out  toward  Simple  Simon. 


Said  Simple  Simon  to  the  pieman, 
"Deed  I  have  not  any." 


Simple  Simon  and  the  pieman 
shake  their  outstretched  right 
hands  and  quickly  drop  them 
and,  passing  each  other,  run 
on  around  the  circle  in  an  en- 
deavor to  reach  first  the  place 
in  the  circle  left  vacant  by  the 
pieman.  The  one  who  gets 
there  last  becomes  Simple 
Simon  and  the  game  begins 
again  as  before. 


RHYTHMIC   ACTION   PLAYS   AND    DANCES 
HIJMPTY    DUMPTY* 


143 


Mother  Goose 


h-X 


Original  tune  harmonized  by 
Alfred  Moffat 


^-S 


fc^! 


r  '  r 


1    ♦ 


♦     1 


Hump  -  ty  Duiup-ty      sat     ou      a   wall,       Hump-ty  Dumpty      had     a    great  fall ; 


a^fi^ 


t: 


^— N-^- 


1—^ — ^ — *— r* —  — 9 — d ^ — ^^  -•-• •-* ^ 5 1 — Tl 


H 1 • W J- 

« a = B K_ 


I         r        I 

All  the  King's  horses  and  all  the  King's  men  Couldn't  put  Humpty  Dumpty  together  a  -  gain. 


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7-» 


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Printed  by  permission  of  G.  Schirmek,  3  East  43rd  St.,  New  York  City. 


The  children  sit  in  a  circle  in  their  chairs,  or  at  their  desks,  an  odd  one  (Humpty 
Dumpty)  stands  in  the  centre  of  the  circle,  or  at  the  front  of  the  class  room.  While  the 
verse  is  being  sung  the  children  all  keep  time  to  the  music  by  alternately  placing  both 
feet  on  the  floor,  leaning  forward  and  clapping  the  hands  once;  then  raising  the  feet  from 
the  floor,  leaning  back  in  the  chair  and  separating  the  arms  sideways.  After  the  verse 
has  been  sung,  "Humpty  Dumpty"  goes  up  to  some  child  and  asks,  "What  color  is  my 
Easter  egg,  red,  white  or  blue?"  If  the  child  he  asks  can  guess  the  color  "Humpty 
Dumpty"  has  chosen,  then  he  may  exchange  places  with  "Humpty  Dumpty."  If  the  color 
is  not  guessed  correctly,  then  "Humpty  Dumpty"  chooses  another  color  and  goes  to  an- 
other child  and  repeats  his  question.  This  continues  until  someone  guesses  correctly.  It 
is  sometimes  advisable  that  "Humpty  Dumpty"  confide  to  the  teacher  the  color  he  has 
chosen,  before  he  asks  the  question. 


144 


RHYTHMIC  ACTION  PLAYS  AND  DANCES 


PETER    PIPER   SAYS   PLEASE 

This  game  is  valuable  in  training  the  attention,  inducing  a  quick  motor  reaction  and 
in  furnishing  a  drill  in  the  names  of  exercises  and  steps  which  the  children  have  previ- 
ously learned.  The  teacher  says  slowly,  "Peter  Piper  says  please"  and  quickly  follows 
this  phrase  with  a  sharp  command.  The  teacher  endeavors  to  fool  the  children  by  omit- 
ting to  say  "please"  or  "Peter  Piper"  or  by  just  giving  a  command.  When  any  word  is 
omitted  the  children  are  not  supposed  to  respond  to  her  command.  After  each  command 
all  look  around  to  see  who  got  fooled  and  when  any  one  makes  a  mistake  all  laugh  good 
naturedly.     The  children  consider  it  very  funny  and  never  tire  of  playing  this  game. 

Suggestions  for  commands  and  actions: 

Single  actions  —  "Stamp,"  "clap,"  "jump,"  "bow,"  "curtsy,"  "stretch,"  "stride," 
"point,"  (sideways,  forward,  backward),  "hop,"  "stoop  and  stand";  a  single  action  or 
"two,"  "three"  or  "four"  "jumps." 

Series  of  actions  —  Runs,  slides,  skips. 

A  continuous  movement  such  as  the  above  should  be  followed  by  "Peter  Piper  says 
please  halt." 


Mother  Goose 
IX  Brightly 


HEY   DIDDLE   DIDDLE 

Mae  Rehberg  Scheuerman 

-p — • — ^— T-- ^ — \ — i.-i — \ ^ — ^ —  n- 


ff3ES 


H • — I ^ ^ ■/- 


-b — I- 


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Hey  diddle  did-dle,  the  cat  and  the  fiddle.  The  cow  jumped     o-  ver  the  moon.  The 


f^ 


H*      ■#. 


5 


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f- 


t^=F^ 


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lit  -  tie  dog  laughed  to  see  such  sport.  And  the  dish  ran  a-way  with  the  spoon. 


m^ 


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RHYTHMIC   ACTION   PLAYS  AND   DANCES 


145 


Formation. — An  even  number  in  a  single  circle  facing  in  line  of  direction,  with  an 
odd  one  in  the  centre. 


Hey  diddle  diddle,  the  cat  and 
the  fiddle, 

The  cow  jumped  over  the  moon, 
The  little  dog  laughed  to  see 
such  sport, 


All  step  hop  forward  around   circle   in    line 
of  direction. 


And  the  dish 


All  turn  inward  and  run  toward  the  centre  of 
circle. 


ran  away  with  the  spoon. 


All  try  to  get  a  partner.  Those  who  secure 
partners  return  to  the  circle,  while  the  odd 
one  remains  in  the  centre  and  the  game  begins 
again  as  before. 


Mother  Goose 
Moderato 


POOR   DOG    BRIGHT 


Traditional  Tune 


S^ii 


-•— ^ 


m 


t=r-^ 


^-  ^- 


^f^-^ 


t=&^ 


-+:: — I- 


■V— t 


A,      B,     C,      tumble-down  D,    The  cat  is  in  the  cupboard  and  can't  see  me. 


l^i 


=F=1 


• — p — i- 


V=^~' 


J: 


4 


P^ 


I 
I 


Allegro 


H H 


-•— P- 


-• •-»-ff • 


-V— ^- 


i^— f 


> — ^ — I #- 


^ 


-b^-br-V- 


1.  Poor  Dog  Bright  ran  off  with  all  his  might  Because  the  cat  was  after  him,Poor  Dog  Bright. 

2.  Poor  Cat  Fright  ran  off  with  all  her  might  Because  the  dog  was  after  her,  Poor  Cat  Fright. 


:|: 


* 


1= 


i- 


^ 


M 


146 


RHYTHMIC   ACTION  PLAYS   AND   DANCES 


Formation. — A  single  circle  facing  inward  clasping  hands,  with  two  of  the  players 
chosen  to  be  "Cat  Fright"  and  "Dog  Bright."  "Cat  Fright"  is  in  the  centre  of  the  circle, 
the  cupboard;  "Dog  Bright"  is  on  the  outside  of  the  circle. 


A,  B,  C,  tumble-down  D, 
The  cat  is  in  the  cupboard 
and  can't  see  me. 


"Dog  Bright"  dances  around  behind  the 
players  in  the  circle  and  calls  these  words  to 
"Cat  Fright." 


Poor  Dog  Bright  ran  off  with  all 
his  might 

Because  the  cat  was  after  him, 
Poor  Dog  Bright. 


The  players  in  the  circle  raise  their  clasped 
hands  and  "Cat  Fright"  rushes  out  after 
"Dog  Bright."  The  players  sing  the  rhythm 
over  and  over  until  "Dog  Bright"  is  caught. 


Poor  Cat  Fright  ran  off  with  all 
her  might 

Because  the  dog  ivas  after  her, 
Poor  Cat  Fright. 


"Dog  Bright"  now  turns  and  chases  "Cat 
Fright"  who  tries  to  get  back  to  the  cup- 
board before  the  dog  can  catch  her.  Should 
she  succeed,  she  goes  and  stands  with  her  back 
to  some  one  in  the  circle,  who  backs  out  and 
becomes  "Dog  Bright"  and  the  previous  "Dog 
Bright"  becomes  the  cat  for  the  next  game. 
Should  the  cat  be  caught  she  must  act  again 
as  "Cat  Fright,"  while  the  dog  chooses  a  suc- 
cessor in  the  same  manner  as  "Cat  Fright" 
would  have  done. 


RHYTHMIC   ACTION    PLAYS  AND   DANCES 
liVE    BABY    BIINTINC; 


14i 


Nursery  Rhyme 
n  Andante 


Arranged  by 
Mae  Rehberg  Scheuerman 


>^(»- 


^ 


f? 


-^-^- 


Bye  Ba  -  by  Bunt 


ing, 


t^E^ 


^E^^^^M 


Dad  -  dy's  gone    a    hunt 


mg, 


-h 1 


Formation. 


In  gi-oups  of  three  arranged  around  a  circle, 
two  of  the  gi-oup  stand  facing  and  clasp 
both  hands  to  form  a  cradle.  One  of  the 
two  stands  with  his  back  to  the  centre  of 
the  circle.  The  third  member  of  the  group 
(Baby  Bunting)  stands  facing  in  line  of 
direction,  with  his  right  foot  placed  forward 
and  his  hands  against  the  arms  nearest 
him. 


f   \ 


/\ 


\/ 


148 


RHYTHMIC   ACTION   PLAYS   AND   DANCES 


Bye  Baby  Bunting, 
Daddy's  gone  a  hunting, 
Gone  to  get  a  rabbit's  skin 


"Baby  Buntings"  rock  the 
cradle,  in  time  to  the  music, 
by  transferring  the  weight 
to  the  forward  foot  as  the 
cradle  is  pushed  away  with 
the  hands;  then  transferring 
the  weight  to  the  backward 
foot  and  pulling  the  elbows 
backward.  The  two,  who 
represent  the  cradle,  should 
raise  their  arms  in  line  of 
direction  to  imitate  the  rock- 
ing. 


To  wrap  the  Baby  Bunting  in. 


The  arms  on  the  side  next 
"Baby  Bunting"  are  raised 
and  he  steps  forward  and 
under  them.  The  arms  are 
then  lowered  and  "Baby 
Bunting"  stands  between 
the  two  who  represent  the 
cradle. 


The  Run.  The  clasped  hands  in  front  of  "Baby  Bunting"  are  raised  during  the  first 
two  measures  of  the  music.  During  the  last  two  measures  all  the  "Baby  Buntings"  of 
the  various  groups  run  forward  in  line  of  direction  to  the  next  group,  ready  to  rock  the 
cradle  with  them.  The  game  is  repeated  until  the  "Baby  Buntings"  have  run  around  the 
entire  circle  and  are  back  again  to  the  group  where  they  started.  If  the  class  is  not  too 
large,  the  whole  game  may  be  played  three  times  in  order  that  those  who  take  the  part 
of  the  cradle  may  each  have  a  turn  as  "Baby  Bunting." 


RHYTHMIC   ACTION   PLAYS   AND    DANCES 
BLOSSOMING    FLOWERS 

The  Autumn  Wind  Mae  Rehberg  Scheuerman 


149 


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150  RHYTHMIC  ACTION   PLAYS  AND   DANCES 

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RHYTHMIC   ACTION   PLAYS   AND   DANCES 


151 


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152 


RHYTHMIC   ACTION   PLAYS  AND    DANCES 


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This  little  allegorical  play  is  without  words  and  is  intended  to  concretely  show  the 
sequence  of  the  seasons  and  the  nature  cycle,  which  begins  with  the  scattering  of  the  seeds 
in  the  fall  and  ends  in  the  blossoming  flowers  in  the  summer.  Five  children  are  chosen 
who  are  to  impersonate 

1.  The  autumn  wind, 

2.  A  snow  cloud, 

3.  The  March  wind, 

4.  The  sun, 

5.  A  cloud  of  gentle  spring  rain. 


These  five  children  go  off  to  one  side,  while  the  rest  of  the  children  (each  named  for 
a  flower)  form  a  circle  standing  facing  the  centre. 


RHYTHMIC   ACTION    PLAYS   AND    DANCES 


153 


The  Autumn  Wind  Music.  The  autumn  wind  runs  into  the  centre  of  the  circle  and 
whirls  around.  This  action  is  supposed  to  scatter  the  seeds.  The  children  in  the  circle, 
or  the  seeds,  whirl  around  and  progress  in  line  of  direction.  After  whirling  about  a  bit, 
the  autumn  wind  runs  out  of  the  circle  and  whirls  away,  whereupon  the  little  seeds  ail 
settle  down  in  a  circle,  kneeling  on  the  right  knee,  folding  the  arms  on  the  chest  and 
resting  the  head  on  the  left  knee. 


The  Snow  Music.  The  snow  cloud  now  runs  softly  into  the  circle  and  whirls  about 
among  the  seeds  shaking  her  fingers  over  the  head  of  each  child,  by  which  action  she  is 
supposed  to  cover  the  seeds  with  a  blanket  of  snowflakes  to  keep  them  warm.  After  the 
snow  cloud  has  gone  to  each  child  she  runs  out  of  the  circle  and  away. 


The  March  Wind  Music.     The  march  wind  next  runs  into  the  circle  and  leaps  and 
whirls  about  among  the  seeds  and  finally  runs  out  of  the  circle  and  away. 


The  Sun  Music.  The  sun  daintily  runs  into  the 
circle  and  touches  each  little  seed.  This  awakens  the 
seed,  who  slowly  raises  her  head.  The  sun  then  runs 
out  of  the  circle  and  away. 


154 


RHYTHMIC  ACTION  PLAYS  AND   DANCES 


The  Rain  Music.  The  rain  cloud  next  runs  into 
the  circle  and  scatters  raindrops  over  each  child,  in 
the  same  manner  that  the  snowflakes  were  shaken 
down.  The  effect  of  the  rain  is  to  make  the  flowers 
grow,  which  they  pretend  to  do  by  standing  up. 


The  Flying  Bird  Music.  There  is  nothing  left  now  but  for  the  flowers  to  blossom, 
which  they  do  by  unfolding  their  petals.  This  may  be  represented  by  slowly  extending 
the  right  arm  sideways,  then  the  left.  The  flowers  should  blossom  in  the  order  in  which 
the  flowers  actually  bud.  That  is,  snowdrops,  crocuses  and  dandelions  first;  then  peonies, 
roses,  goldenrod,  etc. 


If  it  is  desired  to  bring  a  large  group  into  action  some  of  the  children  may  be  named 
for  birds  and,  while  the  flowers  are  blossoming,  the  birds  (crows,  robins,  bluebirds,  wood- 
peckers, etc.)  may  come  in  and  fly  about,  entering  in  the  order  in  which  they  migrate. 


APPENDIX 

I.    ALPHAT3ETICAL  IISTDEX  OF  TITLES,  AUTHORS  AND 

COIMPOSERS 


TITLE 

Ba,  Ba,  Black  Sheep  . 
Blossoming  Flowers  . 
Bobby  Shafto  .  .  . 
Bow-wow-wow  .  .  . 
Brownies  and  Fairies  . 

Bye  Baby  Bunting 

Children  Sliding     .     . 
Christmas  Ships,  The 
Cock-a-doodle-doo 
Come,  My  Dolly    .     . 
Crooked  Man,  The      . 


AUTHOR 

Mother  Goose 


Dame,  get  up  and  Bake  Your  Pies 
Diddle, Diddle  Dumpling      .     .     . 


COMPOSER  PAGE 

.     .  Mae  Rehberg  Scheuerman  120 

Mae  Rehberg  Scheuerman  149 

Mother  Goose Old  Tune  66 

Mother  Goose Traditional  Tune  109 

Irene  E.  Phillips  Moses     ....      Arranged  by 

Emily  Perkins  Wells  100 

Nursery  Rhymes Arranged  by 

Mae  Rehberg  Scheuerman  147 

Mae  Rehberg  Scheuerman  97 

Old  Nursery  Rhyme 98 

Mother  Goose      .     .     .   Mae  Rehberg  Scheuerman  61 

Lydia  Avery  Coonley    ....       Eleanor  Smith  79 

Mother  Goose      .     .     .  Mae  Rehberg  Scheuerman  24 

Old  Nursery  Rhyme Traditional    73 

Mother  Goose Ethel  Crowninshield     55 


Elephant's  Dance,  The 140 

Fairies'  Moonlight  Dance,  The 

Fairy  Ship,  The 

Fireflies'  Dance,  The 


Girls  and  Boys,  Come  out  to  Play 
Goosey,  Goosey,  Gander      .     .     . 


Mae  Rehberg  Scheuerman     84 

Old  Nursery  Rliyme Traditional  136 

Irene  E.  Phillips  Moses    Mae  Rehberg  'Scheuerman    82 

Mother  Goose 129 

Mother  Goose  .     .  bv^edish  and  Mae  Rehberg 

Scheuerman     54 


Here  we  go  on  a  Merry-go-round  .     .     Irene  E.  Phillips  Moses American  38 

Hey  Diddle  Diddle Mother  Goose      .     .     .   Mae  Rehberg  Scheuerman  144 

Hickory,Dickory,Dock Mother  Goose      .     .     .   Mae  Rehberg  Scheuerman  44 

Hippity  Hop  to  the  Barber  Shop Arranged  by  Mae  Rehberg 

Scheuerman  75 

Humpty  Dumpty Mother  Goose      .     .     .   Original  tune  harmonized 

by  Alfred  Moffat  143 

Hush-a-bye  Baby Old  Nursery  Rhyme Traditional  68 


Jack  and  Jill,  No.  I Mother  Goose 

Jack  and  Jill,  No.  II Mother  Goose 

Jack  be  Nimble ■.     Mother  Goose 


Mae  Rehberg  Scheuerman  91 

Mae  Rehberg  Scheuerman  103 

Mae  Rehberg  Scheuerman  89 

German  23 


Kewpies,  The Irene  E.  Phillips  Moses      .... 

Leg  over  Leg Mother  Goose Swedish     90 

Little  Boy  Blue Mother  Goose 138 

Little  Miss  Muffet Mother  Goose Traditional  Tune     26 

Little  Nut  Tree,  The Old  Nursery  Rhyme Old.  English  105 

Little  Pigs,  The Mother  Goose  (adapted) 112 

Lucy  Locket Mother  Goose Traditional    28 

15.5 


156  INDEX 


TITLE  AUTHOR  COMPOSER 


PAGE 


Man  in  the  Moon,  The Mother  Goose  and   .     .   Mae  Rehberg  Scheuerman 

Nursery  Rhyme                           and  Traditional  63 

Mistress  Mary Mother  Goose J.W.  Elliott  139 

Motorman,  The Irene  E.  PhilUps  Moses    Mae  Rehberg  Scheuerman  57 

Oh  Where,  Oh  Where  has  my  Little 

Dog  gone? Nursery  Rhyme Old  Tune  42 

Old  King  Cole Nursery  Rhyme Adapted  by 

Mae  Rehberg  Scheuerman  71 

Old  Man  in  Leather,  The     ....     Nursery  Rhyme  .     .     .   Mae  Rehberg  Scheuerman  123 

Pancake  Man,  The Irene  E.  Phillips  Moses    Mae  Rehberg  Scheuerman  31 

Christina  Rossetti Eleanor  Smith 

Pat-a-cake Mother  Goose Adapted  114 

Peter  Pan Irene  E.  Phillips  Moses     ....      J.  Pierpont  4.5 

Peter  Piper  says  "  Please" 144 

Playing  Train Irene  E.  Phillips  Moses    Mae  Rehberg  Scheuerman  36 

Poor  Dog  Bright Mother  Goose Traditional  Tune  145 

Puss,  Puss,  Grey  Cat 132 

Pussy  Cat,  Pussy  Cat Mother  Goose J.W.  Elliott  47 

Ride  a  Cock-horse Mother  Goose Old  Tune — adapted  74 

Santa  Claus  and  the  Christmas  Tree.     Irene  E.  Phillips  Moses    Mae  Rehberg  Scheuerman  40 

See-Saw,  No.  I ~   .     .     Alfred  G.  Crowe       .     .  Alfred  G.  Crowe  {adapted)  53 

See-Saw,  No.  II Alfred  G.  Crowe      .     .  Alfred  G.  Crowe  (adapted)  69 

See-Saw,  No.  Ill Alfred  G.  Crowe      .     .  Alfred  G.  Crowe  (adapted)  92 

Simple  Simon Mother  Goose      .     .     .    Mae  Rehberg  Scheuerman  140 

Sing  a  Song  of  Sixpence Mother  Goose     .     .     .    Mae  Rehberg  Scheuerman  29 

Spider  and  the  Fly,  The 138 

Stork,  The Irene  E.  Phillips  Moses    Mae  Rehberg  Scheuerman  51 

Three  Funny  Old  Men W.  H.  Neidlinger W.  H.  Neidlinger  49 

Three  Little  Kittens Nursery  Rhyme 116 

Tin  Soldiers,  The W.  H.  Neidlinger W.  H.  Neidlinger  33 

To  Market Mother  Goose Irish  Jig  43 

Two  Little  Blackbirds Mother  Goose      .     .     .   Mae  Rehberg  Scheuerman  110 

Twinkle,  Twinkle,  Little  Star,  No.  I.     Nursery  Rhyme J.W.  Elliott  78 

Twinkle,  Twinkle,  Little  Star,  No.  II     Nursery  Rhyme J.W.  Elliott  126 

Walking  on  Stilts Mae  Rehberg  Scheuerman  57 

Wee  Willie  Winkie Mother  Goose      .     .     .  Mae  Rehberg  Scheuerman  27 

Yankee  Doodle 86 


II.    CHASIKG  AND  TAGGING  GAMES 


PAGE 

Hush-a-bye  Baby 68 

Little  Boy  Blue 138 

Little  Miss  Muffet 26 

Lucy  Locket 28 

Mistress  Mary 139 

Oh   Where,  Oh   Where  has   my   Little   Dog 
gone? 42 


PAGE 

Poor  Dog  Bright 145 

Simple  Simon 140 

Sing  a  Song  of  Sixpence 29 

Spider  and  the  Fly,  The 149 

Wee  Willie  Winkle 27 


III.    ACTION  PLATS  IN  WHICH  THE  CHILDREN  THEM- 
SELVES MAT  CHOOSE  THE  ACTION 


PAGE 

The  Christmas  Ships 98     Peter  Piper  says  Please 

Goosey,  Goosey,  Gander 54     Santa  Glaus  and  the  Christmas  Tree  . 

Old  King  Cole 71 


PAGE 
,    144 

,     40 


IT.    GAMES  SUITABLE  FOR  THE  SCHOOLROOM 

WITH  DESKS 

By  using  some  ingenuity  all  of  the  following  Action  Plays  may  be  adapted  for  use  in 
the  schoolroom  with  desks.  Many  of  those  which  have  the  circle  formation  may  be  easily 
used  with  straight  lines.  In  some  instances  it  may  be  necessary  to  omit  the  game  ele- 
ment, using  only  the  rhythmic  actions.  Unless  the  aisles  are  very  wide  they  will  not 
admit  of  the  changing  of  partners. 


PAGE 

Bobby  Shafto 66 

Christmas  Ships,  The 98 

Cock-a-doodle-doo 61 

Come,  My  Dolly 79 

Crooked  Man,  The 24 


PAGE 


Dame,  get  up  and  Bake  your  Pies  ...     73 
Diddle,  Diddle  Dumpling 55 

Elephants'  Dance,  The 140 

Fairies'  Moonlight  Dance,  The  ....    84 
Fairy  Ship,  The 136 


157 


158 


INDEX 


Goosey,  Goosey,  Gander 54 

Here  We  go  on  a  Merry-go-round  ...     38 
Hippity  Hop  to  the  Barber  Shop    ...     75 

Humpty  Dumpty 143 

Hush-a-bye  Baby 68 


Jack,  be  Nimble 


89 


Kewpies,  The 23 

Leg  over  Leg 90 

Little  Boy  Blue 138 

Man  in  the  Moon,  The 63 

Motorman,  The 57 


PAGE 

Pancake  Man,  The 31 

Pat-a-cake 114 

Peter  Piper  says  Please 144 

Playing  Train 36 

Ride  a  Cock-horse 74 

Santa  Claus  and  the  Christmas  Tree  .     .  40 

See-Saw,  No.  I 53 

See-Saw,  No.  II 69 

Stork,  The 51 

Three  Little  Kittens 116 

Tin  Soldiers,  The 33 

To  Market 43 

Two  Little  Blackbirds 110 


Old  King  Cole 71     Walking  on  Stilts 57 


Y,    AOTIOI^  PLAYS  SUITABLE  FOR  THE  USE  OF  SMALL 
GROUPS  AND  m   THE  HOME 

In  using  these  Action  Plays  with  small  numbers,  it  will  be  found  necessary  to  disregard 
such  parts  of  the  description  as  require  the  co-operation  of  a  large  group. 

1.    Action  Plays  suitable  for  a  single  child  or  a  single  child  and  its  mother. 

PAGE  PAGE 

Bobby  Shafto 66     Motorman,  The 57 


Cock-a-doodle-doo 61 

Come,  My  Dolly 79 

Crooked  Man,  The 24 

Diddle,  Diddle  Dumpling 55 

Elephants'  Dance,  The 140 

Fairies'  Moonlight  Dance,  The  ....  84 

Goosey,  Goosey,  Gander 54 

Here  we  go  on  a  Merry-go-round    ...     38 

Hickory,  Dickory,  Dock 44 

Hush-a-bye  Baby 68 

2.     Action  Plays  suitable  for  two  children. 

PAGE 

Ba,  Ba,  Black  Sheep 120 

Bobby  Shafto 66 

Bow-wow-wow 109 

Cock-a-doodle-doo 61 

Come,  My  Dolly 79 

Crooked  Man,  The 24 


Pancake  Man,  The 31 

Peter  Piper  says  Please 144 

Playing  Train 36 

Ride  a  Cock-horse 74 

See-Saw,  No.  II 69 

Sing  a  Song  of  Sixpence 29 

Stork,  The 51 

To  Market 43 

Walking  on  Stilts 57 

Yankee  Doodle 86 


PAGE 

Diddle,  Diddle  Dumpling 55 

Elephant's  Dance,  The 140 

Fairies'  Moonlight  Dance,  The  ....     84 
Fireflies'  Dance,  The 82 

Goosey,  Goo.sey,  Gander 54 


INDEX 


159 


PAGE 

Here  we  go  on  a  Merry-go-round    ...    38 

Hickory,  Dickory,  Dock .44 

Hippity  Hop  to  the  Barber  Shop    ...     75 
Hush-a-bye  Baby 68 

Jack  and  Jill,  No.  I 91 

Jack  and  Jill,  No.  11 103 

Jack  be  Nimble 89 

Man  in  the  Moon,  The 63 

Motorman,  The 57 

Old  King  Cole 71 

Pancake  Man,  The 31 

Pat-a-cake 114 

Peter  Piper  says  Please 144 


PAGE! 

Playing  Train 36 

Pussy  Cat,  Pussy  Cat 47 

Ride  a  Cock-horse 74 

See-Saw,  No.  I 53 

See-Saw,  No.  II 69 

Sing  a  Song  of  Sixpence 29 

Stork,  The       51 

To  Market 43 

Twinkle,  Twinkle,  Little  Star,  No.  I    .     .  78 

Twinkle,  Twinkle,  Little  Star,  No.  II  .     .  126 

Two  Little  Blackbirds 110 

Walking  on  Stilts 57 

Yankee  Doodle 86 


3.    Action  Plays  suitable  for  three  children. 


PAGE 

Bobby  Shafto 66 

Bye  Baby  Bunting 147 

Christmas  Ships,  The 98 

Cock-a-doodle-doo 61 

Come,  My  Dolly 79 

Crooked  Man,  The 24 

Diddle,  Diddle  Dumpling 55 

Elephant's  Dance,  The 140 

Fairies'  Moonlight  Dance,  The  ....     84 

Goosey,  Goosey,  Gander 54 

Here  We  go  on  a  Merry-go-round  ...     38 

Hickory,  Dickory,  Dock 44 

Hush-a-bye  Baby 68 

Kewpies,  The 23 


PAGE 

Motorman,  The 57 

Pancake  Man,  The 31 

Peter  Piper  says  Please 144 

Playing  Train 36 

Ride  a  Cock-horse 74 

See-Saw,  No.  II 69 

Sing  a  Song  of  Sixpence 29 

Stork,  The 51 

Three  Funny  Old  Men 49 

Three  Little  Kittens 116 

To  Market 43 

Walking  on  Stilts 57 

Yankee  Doodle 86 


4.    Action  Plays  suitable  for  four  children. 

PAGE 

Ba,  Ba,  Black  Sheep 120 

Bobby  Shafto 66 

Bow-wow-wow 109 

Cock-a-doodle-doo 61 

Come,  My  Dolly 79 

Crooked  Man,  The 24 

Diddle,  Diddle  Dumpling 55 

Elephant's  Dance,  The 140 


PAGE 

Fairies'  Dance,  The 84 

Fireflies  Dance,  The 82 

Goosey,  Goosey,  Gander 54 

Here  We  go  on  a  Merry-go-round  ...  38 

Hippity  Hop  to  the  Barber  Shop    ...  75 

Hush-a-bye  Baby 68 

Jack  and  Jill,  No.  I 91 

Jack  and  Jill,  No.  II 103 

Jack  be  Nimble 89 


160 


INDEX 


PAGE 

Little  Pigs,  The 112 

Man  in  the  Moon,  The 63 

Motorman,  The 57 

Old  King  Cole 71 

Pancake  Man,  The 31 

Pat-a-cake 114 

Peter  Piper  says  Please 144 

Playing  Train 36 

Puss,  Puss,  Grey  Cat 132 

Pussy  Cat,  Pussy  Cat 47 

Ride  a  Cock  Horse 74 


PAGE 

See-Saw,  No.  I 53 

See-Saw,  No,  II 69 

Sing  a  Song  of  Sixpence 29 

Stork,  The 51 

To  Market 43 

Twinkle  Twinkle,  Little  Star,  No.  I   .     .  78 

Twinkle,  Twinkle,  Little  Star,  No.  II       .  126 

Two  Little  Blackbirds 110 

Walking  on  Stilts 57 

Yankee  Doodle 86 


5.    Action  Plays  suitable  for  five  or  more. 

Practically  all  the  rhythms  and  games  in  the  book  may  be  used  with  groups  comprising 
as  small  a  number  as  five,  with  the  possible  exception  of  those  Action  Plays  such  as  "  I  had 
a  Little  Nut  Tree,"  "  The  Old  Man  in  Leather"  and  "  Peter  Pan,"  which  require  concentric 
circles. 


Yl.    GAMES  SUITABLE  FOR  OHILDREN"'S  PARTIES 


PAGE 

Bye  Baby  Bunting 147 

Dame,  get  up  and  Bake  Your  Pies      .     .     73 

Fairy  Ship,  The 136 

Humpty  Dumpty 143 

Kewpies,  The 23 

Leg  over  Leg  (game) 90 

Little  Boy  Blue 138 

Little  Miss  Muffet 26 

Little  Nut  Tree,  The 105 

Lucy  Locket 28 


PAGE 

Mistress  Mary 139 

Oh  Where,  Oh  Where  has  my  Little  Dog 

gone? 42 

Old  Man  in  Leather,  The 142 

Peter  Piper  says  Please 144 

Poor  Dog  Bright 145 

Santa  Claus  and  the  Christmas  Tree  .     .  40 

Simple  Simon 140 

Sing  a  Song  of  Sixpence 29 

Spider  and  the  Fly,  The 138 

Wee  Willie  Winkie 27 


VII.    ACTION  PLAYS  APPROPRIATE  FOR  CHRISTMAS 


PAGE 


Christmas  Ships,  The 

Dame,  get  up  and  Bake  Your  Pies 
Santa  Claus  and  the  Christmas  Tree 


98     Twinkle,  Twinkle,  Little  Star,  No.  I   . 
Y3     Twinkle,  Twinkle,  Little  Star,  No.  II 

40 


PAGE 

78 
126 


INDEX  161 

VIII.    ACTION  PLAYS  APPROPRIATE  FOR  EASTER 


Humpty  Dumpty 


PAGE  PAGE 

.  143     Blossoming  Flowers 149 


IX.    ACTION  PLAYS  APPROPRIATE  FOR  PATRIOTIC 

OCCASIONS 


Tin  Soldiers,  The 


PAGE 

.     33     Yankee  Doodle 


PAGE 

86 


X.    TOPICAL  INDEX 


PAGE 

Accompaniment,  The  Musical,  of  Rhyth- 
mic Work 5 

Animal  Movements,  Imitations  of 

Birds  Flying 

Blossoming  Flowers 149 

Sing  a  Song  of  Sixpence    ....    29 

Stork,  The 51 

Two  Little  Blackbirds 110 

Cat  Running  and  Jumping 

Poor  Dog  Bright 145 

Puss,  Puss,  Grey  Cat 132 

Pussy  Cat,  Pussy  Cat 47 

Three  Little  Kittens 116 

Cat  Washing  Face 
Three  Little  Kittens 116 

Dog  Running  and  Jumping 

Bow-wow-wow 109 

Leg  over  Leg 90 

Oh  Where,    Oh    Where    has    my 

Little  Dog  gone? 42 

Poor  Dog  Bright 145 

Elephant  Walking 
Elephants'  Dance,  The     ....  140 

Fireflies  Flying 

Fireflies'  Dance,  The 82 

Goose  Walking 
Goosey,  Goosey,  Gander  ....    54 

Horse  Pacing 
Yankee  Doodle    .     : 86 

Mouse  Running 

Hickory,  Dickory,  Dock  ....    44 

Pigs  Running 

Little  Pigs,  The 138 


PAGE 

Rooster  Strutting  and  Running 

Cock-a-doodle-doo 61 

Spider  Crawling 

Little  Miss  Muffet 26 

Spider  and  the  Fly,  The    ....  149 

Stork  standing  on  one  foot 

Stork,  The 51 

Arm  Hook,  (definition) 18 

Arousing  and  Holding  the  Attention   .     .  5 

Means  of 5 

Attention,  Arousing  and  Holding  the  .     .  5 

Balance  Step  and  Point  Step 77 

Balance  Step  (definition) 18 

Beginning  of  the  Rhythmic  Lesson,  The  .  7 

How  to  plan  a  lesson 7 

A  review  to  precede  each  new  step    .  8 

Boys  and  Girls  as  partners 5 

Breathing  Exercises 8 

Suggestions  for   exercises  correlated 

with  themes  of  the  Action  Plays  .     .  8 
Suggestions  for  quieting  a  class  by 

mental  suggestions  and  concentration  9 

Circle,  The 4 

How  to  organize 4 

Its  uses  and  characteristics  ....  4 

Clap,  (definition) 17 

Class  Organization 4 

Boys  and  girls  as  partners    ....  5 

Circle,  The 4 

Grouping  in  Couples 4 

Necessity  of 4 

Straight  Lines,  The 4 

Commands   and   Descriptions,   Teaching 
by  Imitation  and  Dramatization  in 

place  of 5 


162 


INDEX 


PAGE 

Correlation  of  Action  Plays  and  Dances 
with  Arithmetic  and  counting 

Ba,  Ba,  Black  Sheep 120 

Brownies  and  Fairies 100 

Christmas  Ships,  The 98 

Diddle,  Diddle  DumpHng  ...  55 
Hickory,  Dickory,  Dock  ....  44 
Hippity  Hop  to  the  Barber  Shop  .     75 

Little  Pigs,  The 138 

Playing  Train 36 

Puss,  Puss,  Grey  Cat 132 

Sing  a  Song  of  Sixpence  ....  29 
Three  Funny  Old  Men  ....  49 
Three  Little  Kittens 116 

Home  Life  and  Occupation 
Baking 

Dame,  get  up  and  Bake  your  Pies .  73 

Pancake  Man,  The 31 

Pat-a-cake 114 

Sing  a  Song  of  Sixpence    ....  29 

Eating 

Little  Miss  Muffet 26 

Man  in  the  Moon,  The     ....  63 

Sing  a  Song  of  Sixpence    ....  29 

Three  Little  Kittens 116 

Going  to  bed  and  sleeping 

Blossoming  Flowers 149 

Brownies  and  Fairies 100 

Bye  Baby  Bunting 147 

Dame,  get  up  and  Bake  your  Pies  73 
Diddle,  Diddle  Dumphng  ...  55 
Goosey,  Goosey,  Gander  ....     54 

Hush-a-bye  Baby 68 

Little  Boy  Blue 138 

Wee  Willie  Winkie 27 

Washing  and  Ironing  and  Hanging 

out  Clothes 
Sing  a  Song  of  Sixpence    ....    29 
Three  Little  Kittens 116 

Industrial  Life 

Christmas  Ships,  The 98 

Motorman,  The 57 

Pancake  Man,  The 31 

Playing  Train 36 

To  Market 43 

Nature  Study 
Flowers 
Blossoming  Flowers 149 


PAGE 

Come,  My  Dolly 79 

Fairies'  Moonlight  Dance,  The      .    84 

Moon,  The 

Brownies  and  Fairies 100 

Fairies'  Moonlight  Dance,  The  .     .    84 
Girls  and  Boys,  come  out  to  play  .  129 

Hey  Diddle,  Diddle 144 

Man  in  the  Moon,  The     ....    63 

Rain 
Blossoming  Flowers 149 

Snow 

Blossoming  Flowers 149 

Santa   Glaus  and    the    Christmas 
Tree 40 

Stars,  The 
Twinkle,     Twinkle,     Little     Star, 

No.  I 78 

Twinkle,    Twinkle,     Little     Star, 
No.  II 126 

Sun,  The 
Blossoming  Flowers 149 

Trees,  The 

Brownies  and  Fairies 100 

Come,  My  Dolly 79 

Little  Nut  Tree,  The 105 

Santa  Xlaus  and    the    Christmas 
Tree 40 

Wind,  The 

Blossoming  Flowers 149 

Hush-a-bye  Baby 68 

Three  Funny  Old  Men      ....  49 

Story  Telling  and  Literature 

Brownies  and  Fairies 100 

Elephants'  Dance,  The     ....  140 
Fairies'  Moonlight  Dance,  The      .     84 

Kewpies,  The 23 

Peter  Pan 45 

Santa  Glaus  and    the    Christmas 

Tree 40 

Couple  Dances  and  other  Action  Plays  in 
which   the  Formation   is  composed  of 

several  small  groups 107 

Course  of  Study,'  General   Plan  of  the 

Games  and  Dances  as  a 1 

Curtsy  (definition) 17 

Dances,   Games  and,    as    a    Course    of 
Study,  General  Plan  of 1 


INDEX 


163 


PAGE 

Descriptions,  Commands  and,  Teaching 
by   Imitation    and    Dramatization    in 

place  of 5 

Double  Circle,  (definition) 20 

Double  Circle,  Facing  in  Line  of  Direction  21 
Dramatization,  Imitation  and,  Teaching 
by  in  place  of  Commands  and  Descrip- 
tions       5 

Ending  of  the  Lesson,  The 8 

End  lesson  with  pleasant  taste      .     .  8 
How  to  quiet  class  at  end  of  lesson   .  8 
Enjoyment,  Pleasure  and,  The  Import- 
ance of  in  Rhythmic  Work      ....  3 

Finger  Shake,  (definition) 17 

General  Plan  of  the  Games  and  Dances 

as  a  Course  of  Study 1 

Elements  desirable  to  incorporate  in  1 

Glossary 17 

Grouping  in  Couples 4 

Advantages  and  uses  of 4 

High  Knee  Bending,  (definition)      ...  18 

Hippity  Hops,  Skips  and  Jigs      ....  67 

History  of  Rhythmic  Action,  The   ...  10 

Holding,  Arousing  and,  the  Attention      .  5 

Hop  Waltz 92 

Hop  Waltz,  (definition) 18 

Imitation  and  Dramatization,  Teaching 
by,  in  place  of  commands  and  Descrip- 
tions        5 

Importance  of  Pleasure  and  Enjoyment 

in  Rhythmic  Work,  The 3 

In  Line  of  Direction,  (definition )     ...  19 

In  Place,  (definition) 18 

Inside  Hands  and  Feet,  (definition)     .     .  19 

Inside  Partner,  (definition) 19 

Jumping,  (definition) 18 

Key   to  the   Description  of  the  Action 

Plays 22 

Knee,  Hip  and  Ankle  Action 51 

Kneeling,  (definition) 17 

Lesson,  The 7 

Lesson,  The  beginning  of  the  Rhythmic  .  7 

Lesson,  The  Ending  of  the 8 

Miscellaneous  Action  Plays 135 

Mother  Goose,  Themes  other  than  ...  2 


PAGE 

Mother  Goose 1 

Why  suitable  as  themes  for  Action 

Plays 1 

Music,  The 2 

Choice  of  for  the  Action  Plays  ...  2 

Necessary  characteristics  of      ...  2 
Musical    Accompaniment    of    Rhythmic 

Work,  The 6 

Directions  to  accompanist    ....  6 

How  to  study  the  accompaniment     .  6 

Importance  of 6 

Words  to,  not  to  be  always  sung  by 

class 6 

Neighbor,  (definition) 19 

Outside  Hands  and  Feet,  (definition)  .     .  19 

Outside  Partner,  (definition) 19 

Plan  of  presenting  a  Song  Play,  The    .     .  13 
Pleasure  and   Enjoyment  in    Rhythmic 

Work,  The  Importance  of 3 

Point  Step,  (definition) 18 

Progressions,  The 10 

Basic  elements  of  the  dance      ...  10 
Plan    of    the    Progressions    of    the 

Book,  The 11 

Progressions  used  in  book  follow  his- 
torical evolution  of  dancing  ...  10 
Progressive  order  of  arranging  the  Action 
Plays 10 

Relation  of  Singing  to  the  Play  of  Small 

Children,  The 2 

Rhythmic  Action  Plays  and  Dances  ar- 
ranged progressively  for  teaching     .     .  15 

Rhythmic  Lesson,  The  beginning  of  the  .  5 

Rhythmic    Work,    The    Importance    of 

Pleasure  and  Enjoyment  in     ...     .  3 

Rhythmic  Work,  The  Musical  Accom- 
paniment of 5 

Singing,  The  Relation  of,  to  the  Play  of 

Small  Children 2 

Single  Circle,  Facing  Inward,  (definition)  20 

Single  Circle,  Partners  Facing,  (definition)  20 

Sliding 35 

Sliding  with  alternate  use  of  the  feet  .     .  96 

Song  Play,  The  Plan  of  presenting  a    .     .  13 

Stamp,  (definition) 18 

Step  Hop 85 

Straight  Line 4 

How  to  evolve  from  circle    ....  4 

Its  uses 4 


164 


INDEX 


PAGE 

Teaching  by  Imitation  and  Dramati- 
zation in  place  of  Commands  and  De- 
scriptions   5 

Words  of  Action  Play  take  place  of 
names    of    steps,   commands    and 

descriptions 5 

Teaching  of  the  Action  Plays      ....     11 
Stages  in  acquiring  motor-skill      .     .     11 
Teaching  must  be  based  on  a  knowl- 
edge of  physical  and  mental  devel- 
opment    11 


Teaching  of  Rhythmic  Work,  The 
Themes  other  than  Mother  Goose 


Use  of  the  Voice,  The     .     .     .     . 
Importance  of  proper  use  of 

Voice,  The  Use  of 


Walking,  Marching  and  Running 
Wring  the  Dish  Rag,  (definition) 


PAGE 

4 
2 

7 
7 


23 

18 


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